Balibo: International-Australian Film
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This document discusses the challenges of distributing international-Australian films. It uses the film Balibo as a case study. The key points are: 1) Distribution and exhibition are important parts of the film industry that are often overlooked in favor of focusing solely on production. Balibo failed to reach its required box office of $6 million to break even. 2) While Balibo received critical acclaim and awards, its distribution was not optimal. It had a simultaneous national opening instead of a staggered release and relied too much on standard promotion methods. 3) Examining Balibo's box office returns over its theatrical run shows it did not gain sufficient screens or audiences over time. Failing to capitalize on
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Production thing
Film production involves several stages from developing an initial story or script to editing and screening the finished product. To attract both local and global audiences, a British film would use a fully British production team and cast to appeal to local audiences who are familiar with the cast, while also featuring internationally known actors like James McAvoy to draw viewers from other countries due to his success in major films. The film aims to entertain both local Scottish audiences who can relate to it as well as broader global audiences familiar with its A-list talent.
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The document discusses several aspects of British film including:
1) Defining what constitutes a "British film" is challenging due to the diversity of British culture but it generally includes films shot in the UK with a British crew/cast, financed in the UK, or addressing British identity.
2) The British Film Institute funds various aspects of the film industry like script development, production, distribution and exports, as well as education and cultural programs, with £15 million annually though most applicants are rejected.
3) A film can be considered British if it meets 3 criteria such as having a British producer, production team, director, or predominantly British cast and subject matter relevant to British experience.
EVALUATION.
The UK Film Council would be a suitable institution to distribute my media product. As a public body funded by the National Lottery, the UK Film Council supports both established and up-and-coming British film directors and backs hundreds of films. It aims to make the UK a global center for film and plays a key role in the country's cultural and economic success. The UK Film Council has partnerships with other film organizations and is focused on developing new talents, though it is selective in the films it chooses to back. Distributing through the UK Film Council would provide access to funding without budget constraints and help attract UK audiences to increase the niche audience for my thriller/social realism genre film.
Independent cinema
The document discusses various aspects of independent film production and distribution. It describes the production process, which includes development, packaging, pre-production, principal photography, and post-production. It provides examples of independent film production companies and discusses distribution, online distribution, film screenings, companies that distribute independent films, and exhibition. It contrasts independent films, which are typically lower budget and thought-provoking, from mainstream films, which are larger budget and aim to entertain mass audiences.
Independent cinema research media molly
The document discusses the process of independent filmmaking, including developing a story, pitching ideas, creating storyboards and scripts, filming, editing, and distribution. It contrasts independent films, which are lower budget and not funded by major studios, with mainstream films from large studios that have bigger marketing budgets. It also lists some UK independent film producers and festivals that can help get independent films exposure.
Film
The document provides an overview of the history and development of the film industries in Britain and the United States. It discusses how the film industries originated in both countries in the late 19th/early 20th centuries with pioneers like the Lumiere brothers and Thomas Edison. It then covers major aspects of how the industries operate including funding models, budgets, audiences, ownership structures, and technological changes. Key institutional players like major Hollywood studios and British production companies like Working Title are also mentioned.
Film funding research
The document discusses various sources of funding for small films in the UK. The main sources discussed are the British Film Institute (BFI), local councils, charities, production schemes and competitors, and crowd funding. The BFI would be the first place looked as it took over responsibilities from the UK Film Council. Local councils sometimes fund films dealing with social issues or benefiting the local community. Charities require films to relate to their cause. Production schemes and competitors run by organizations like the BBC and Channel 4 are another option. Crowd funding has become more popular as a way to engage audiences online. In conclusion, the BFI would be the best choice as it provides more national opportunities.
Independent versus mainstream film
This document discusses the differences between independent and mainstream films. Mainstream films are produced by major Hollywood studios, have large marketing budgets, star-driven narratives, and aim for mass appeal and commercial success. In contrast, independent films have limited distribution and marketing, explore challenging themes, use unconventional styles, and aim more for critical appreciation than box office returns. Gravity and The King's Speech are provided as examples of mainstream and independent films respectively to highlight these differences.
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Production thing
Film production involves several stages from developing an initial story or script to editing and screening the finished product. To attract both local and global audiences, a British film would use a fully British production team and cast to appeal to local audiences who are familiar with the cast, while also featuring internationally known actors like James McAvoy to draw viewers from other countries due to his success in major films. The film aims to entertain both local Scottish audiences who can relate to it as well as broader global audiences familiar with its A-list talent.
Horror
The document discusses several aspects of British film including:
1) Defining what constitutes a "British film" is challenging due to the diversity of British culture but it generally includes films shot in the UK with a British crew/cast, financed in the UK, or addressing British identity.
2) The British Film Institute funds various aspects of the film industry like script development, production, distribution and exports, as well as education and cultural programs, with £15 million annually though most applicants are rejected.
3) A film can be considered British if it meets 3 criteria such as having a British producer, production team, director, or predominantly British cast and subject matter relevant to British experience.
EVALUATION.
The UK Film Council would be a suitable institution to distribute my media product. As a public body funded by the National Lottery, the UK Film Council supports both established and up-and-coming British film directors and backs hundreds of films. It aims to make the UK a global center for film and plays a key role in the country's cultural and economic success. The UK Film Council has partnerships with other film organizations and is focused on developing new talents, though it is selective in the films it chooses to back. Distributing through the UK Film Council would provide access to funding without budget constraints and help attract UK audiences to increase the niche audience for my thriller/social realism genre film.
Independent cinema
The document discusses various aspects of independent film production and distribution. It describes the production process, which includes development, packaging, pre-production, principal photography, and post-production. It provides examples of independent film production companies and discusses distribution, online distribution, film screenings, companies that distribute independent films, and exhibition. It contrasts independent films, which are typically lower budget and thought-provoking, from mainstream films, which are larger budget and aim to entertain mass audiences.
Independent cinema research media molly
The document discusses the process of independent filmmaking, including developing a story, pitching ideas, creating storyboards and scripts, filming, editing, and distribution. It contrasts independent films, which are lower budget and not funded by major studios, with mainstream films from large studios that have bigger marketing budgets. It also lists some UK independent film producers and festivals that can help get independent films exposure.
Film
The document provides an overview of the history and development of the film industries in Britain and the United States. It discusses how the film industries originated in both countries in the late 19th/early 20th centuries with pioneers like the Lumiere brothers and Thomas Edison. It then covers major aspects of how the industries operate including funding models, budgets, audiences, ownership structures, and technological changes. Key institutional players like major Hollywood studios and British production companies like Working Title are also mentioned.
Film funding research
The document discusses various sources of funding for small films in the UK. The main sources discussed are the British Film Institute (BFI), local councils, charities, production schemes and competitors, and crowd funding. The BFI would be the first place looked as it took over responsibilities from the UK Film Council. Local councils sometimes fund films dealing with social issues or benefiting the local community. Charities require films to relate to their cause. Production schemes and competitors run by organizations like the BBC and Channel 4 are another option. Crowd funding has become more popular as a way to engage audiences online. In conclusion, the BFI would be the best choice as it provides more national opportunities.
Independent versus mainstream film
This document discusses the differences between independent and mainstream films. Mainstream films are produced by major Hollywood studios, have large marketing budgets, star-driven narratives, and aim for mass appeal and commercial success. In contrast, independent films have limited distribution and marketing, explore challenging themes, use unconventional styles, and aim more for critical appreciation than box office returns. Gravity and The King's Speech are provided as examples of mainstream and independent films respectively to highlight these differences.
kjjfkj
The film A Field in England was produced on a very low budget of £300,000 by independent British production company Rook Films. It utilized new technologies and a non-traditional distribution strategy, being simultaneously released in UK cinemas, free-to-air television, DVD, and video-on-demand. This innovative approach aimed to maximize audience reach and profits. Initial results were positive, with solid cinema box office and thousands of digital/DVD purchases in the first week. Audiences responded positively overall to having increased access options.
Afie l6 industry
The document lists various film marketing strategies that can be used to promote a film in 2 minutes or less, including:
- Posters, trailers, viral campaigns, TV interviews, print ads, social networking, websites, Q&A sessions, YouTube videos, and merchandise. It provides a concise overview of the essential film marketing tactics.
British Film: Cultural & Economic Factors
The document discusses factors that define a British film, including whether the story/setting, director, cast, financing, and intended audience are British. It notes that recent UK government definitions focus on a film's "cultural hubs" (location of production), "cultural practitioners" (nationality of cast/crew), and "cultural content" (British setting and characters). It provides examples of films that would qualify as British under these criteria and instructs groups to analyze a film using these standards.
P:\media studies\as level media\film industry\working title\how film makes it...
A film aims to make money at different stages of its commercial lifecycle, including theatrical exhibition, home video/DVD, television, and international distribution deals. Most films recoup their budgets through DVD sales. The more a film is distributed through different channels and territories, the more revenue it can generate for producers and distributors. However, many independent British films struggle to earn back their production costs from theatrical release alone.
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The film process
The key stages of the film process are production, distribution, marketing, and exhibition/consumption.
Production involves creating the film and arranging financing. Distribution gets the film to theaters and other platforms. Marketing uses techniques like trailers, ads, and publicity events to promote the film. Exhibition/consumption is when audiences view the film in theaters or at home.
G322 film industry quick overview
1. The exam questions may focus on areas related to media ownership, synergy and cross-media convergence, new media technologies, or how major industries target British audiences.
2. Media conglomerates own massive companies across film, TV, music, publishing, and the internet, allowing them to fund large film productions and market films across all their subsidiary companies using synergy.
3. While some independent films are made outside the major studios in Britain with smaller budgets, these films often require partnerships with larger distributors to achieve wide release and profitability.
Short film festivals
Short film festivals provide opportunities for short film creators to get their work seen by distributors and producers who could help promote wider success. Festivals foster a community where filmmakers can share ideas and get feedback, and also allow smaller creators a chance to get noticed. The BFI has run an annual short film award since 1953 and screens nominated films on its website and YouTube channel. The Smalls Film Festival champions independent filmmaking and provides a platform for filmmakers to stream and promote their work. The Edinburgh Film Festival is the world's longest running festival and showcases new short films from around the world online.
Shifty case study
This is a complex question without a straightforward answer. A film's success is usually determined by both its appeal and the resources devoted to distributing and marketing it. Here are a few key points:
- A highly appealing film is more likely to find an audience, but it still needs exposure through distribution and marketing channels to reach its potential viewers.
- Marketing and promotion help raise awareness of a film and convey what it's about, which is important for driving interest and ticket/DVD sales. This is especially true for independent films with limited budgets.
- Wider distribution through more cinemas and territories increases the chances of finding an audience. However, distribution is costly and not guaranteed to overcome lack of appeal.
-
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A short film is defined as a motion picture that is 40 minutes or less. Short films are generally shown at film festivals and have several purposes such as raising awareness of a theme or message, helping filmmakers gain experience, and allowing for experimental ideas. They can also help launch a feature film career, as was the case for Neill Blomkamp whose short film "Alive in Joburg" led Peter Jackson to finance Blomkamp's full-length feature "District 9". Short films typically have small budgets, focus on 1-3 main characters to keep the story concise, and may include twists, though this is not required. They have a niche audience compared to mainstream films.
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Short film festivals
The document discusses three short film festivals:
The Smalls Film Festival brings together a community of filmmakers from around the world each year and shows how many filmmakers start in advertising or music videos. The British Film Institute (BFI) festival allows filmmakers from all over to share their new work with audiences and often hands out awards like for best short film. The Edinburgh International Film Festival is the longest running film festival in the world held each June where they screen both UK and international films.
Warp film
Warp Films is an independent film company based in London and Sheffield that produces low-budget films that often go on to critical and commercial success. They receive funding from various UK sources like the BFI and Film4. While their films have small budgets, many end up profitable at the box office and win numerous awards. Some of their most acclaimed films that found both success and acclaim include This is England and Submarine. Their ability to produce unique films on tight budgets that resonate with audiences is what makes Warp Films a successful independent studio.
Film exhibition
The document discusses film exhibition, primarily in cinemas. It notes that films can be shown in festivals but the focus is on different types of cinemas and the films they show. The two main types of cinemas in the UK are multiplexes and independent cinemas. Multiplexes first arrived in the UK in the 1980s and were largely situated outside of towns. They were able to show a wide variety of films from different studios. Independent cinemas are typically smaller and show foreign, independent, and experimental films in renovated buildings. They offer a different experience compared to multiplexes.
Warp film
Warp Film is an independent British film company based in London and Sheffield. As an independent studio, it has more limited funding than major studios but seeks financing from various UK film councils and organizations. It stresses the importance of using short films to impress potential funders and get noticed. Some of Warp Film's biggest successes include This Is England, which won several awards, and Submarine, which had a small £1.2 million budget but made over £2 million in profits. However, some of its films like Bunny and the Bull and Grow Your Own were financial flops. Warp Film's success is attributed to securing funding from multiple UK sources and producing low-budget films that are acclaimed and commercially successful.
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The document summarizes a tourism conclave focused on promoting film tourism. The conclave aims to bring together stakeholders in the film and tourism industries to discuss how featuring destinations in films can boost tourism. Popular films over decades have increased tourism to locations like Switzerland, the UK, and Spain. India produces many films each year across its states and is also a filming destination for international productions. The conclave will include knowledge sharing sessions and exhibitions for destinations to showcase themselves in order to attract more film productions and tourism.
British film lesson SECTION A
The document discusses the British film industry and what makes a film British. It explains that the British Film Council and British Council work to promote and support the British film industry. The British Council defines six criteria for a film to be considered British, including having a British producer, director, cast, or subject matter related to the British experience. The document asks students to analyze film trailers and determine if they meet the criteria to be classified as British films.
Short film award research
The document discusses various award categories and prizes for two different short film festivals:
1) The Edinburgh Short Film Festival awards include Best Director, Best Animated Film, and Rising Star awards. Winners receive cash prizes, tickets, and industry opportunities.
2) The London Short Film Festival awards include Best British Short, Best Cinematography, Best Documentary, and more. Winners receive development sessions, magazine profiles, filming equipment, and festival screenings. Both festivals recognize and celebrate excellence in short filmmaking.
Short Film Award Research
The document discusses various award categories and prizes for two different short film festivals:
1) The Edinburgh Short Film Festival awards include Best Director, Best Animated Film, and Rising Star awards. Winners receive cash prizes, tickets, and industry opportunities.
2) The London Short Film Festival awards include Best British Short, Best Cinematography, Best Documentary, and more. Winners receive development sessions, magazine profiles, filming equipment, and festival screenings. Both festivals recognize and celebrate excellence in short filmmaking.
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kjjfkj
The film A Field in England was produced on a very low budget of £300,000 by independent British production company Rook Films. It utilized new technologies and a non-traditional distribution strategy, being simultaneously released in UK cinemas, free-to-air television, DVD, and video-on-demand. This innovative approach aimed to maximize audience reach and profits. Initial results were positive, with solid cinema box office and thousands of digital/DVD purchases in the first week. Audiences responded positively overall to having increased access options.
Afie l6 industry
The document lists various film marketing strategies that can be used to promote a film in 2 minutes or less, including:
- Posters, trailers, viral campaigns, TV interviews, print ads, social networking, websites, Q&A sessions, YouTube videos, and merchandise. It provides a concise overview of the essential film marketing tactics.
British Film: Cultural & Economic Factors
The document discusses factors that define a British film, including whether the story/setting, director, cast, financing, and intended audience are British. It notes that recent UK government definitions focus on a film's "cultural hubs" (location of production), "cultural practitioners" (nationality of cast/crew), and "cultural content" (British setting and characters). It provides examples of films that would qualify as British under these criteria and instructs groups to analyze a film using these standards.
P:\media studies\as level media\film industry\working title\how film makes it...
A film aims to make money at different stages of its commercial lifecycle, including theatrical exhibition, home video/DVD, television, and international distribution deals. Most films recoup their budgets through DVD sales. The more a film is distributed through different channels and territories, the more revenue it can generate for producers and distributors. However, many independent British films struggle to earn back their production costs from theatrical release alone.
G322 Case Study - Working Title and The Boat That Rocked
Based on the presentation available elsewhere on slideshare. I'd recommend you check that one out too...
The film process
The key stages of the film process are production, distribution, marketing, and exhibition/consumption.
Production involves creating the film and arranging financing. Distribution gets the film to theaters and other platforms. Marketing uses techniques like trailers, ads, and publicity events to promote the film. Exhibition/consumption is when audiences view the film in theaters or at home.
G322 film industry quick overview
1. The exam questions may focus on areas related to media ownership, synergy and cross-media convergence, new media technologies, or how major industries target British audiences.
2. Media conglomerates own massive companies across film, TV, music, publishing, and the internet, allowing them to fund large film productions and market films across all their subsidiary companies using synergy.
3. While some independent films are made outside the major studios in Britain with smaller budgets, these films often require partnerships with larger distributors to achieve wide release and profitability.
Short film festivals
Short film festivals provide opportunities for short film creators to get their work seen by distributors and producers who could help promote wider success. Festivals foster a community where filmmakers can share ideas and get feedback, and also allow smaller creators a chance to get noticed. The BFI has run an annual short film award since 1953 and screens nominated films on its website and YouTube channel. The Smalls Film Festival champions independent filmmaking and provides a platform for filmmakers to stream and promote their work. The Edinburgh Film Festival is the world's longest running festival and showcases new short films from around the world online.
Shifty case study
This is a complex question without a straightforward answer. A film's success is usually determined by both its appeal and the resources devoted to distributing and marketing it. Here are a few key points:
- A highly appealing film is more likely to find an audience, but it still needs exposure through distribution and marketing channels to reach its potential viewers.
- Marketing and promotion help raise awareness of a film and convey what it's about, which is important for driving interest and ticket/DVD sales. This is especially true for independent films with limited budgets.
- Wider distribution through more cinemas and territories increases the chances of finding an audience. However, distribution is costly and not guaranteed to overcome lack of appeal.
-
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G322 Case Study - Working Title and The Boat That Rocked
G322 Case Study - Working Title and The Boat That Rocked
Similar to Balibo: International-Australian Film
UK cinema Warp films & Working titles
An Insight on the history of British Cinema and the two production hose that re within the British film industry
Fish tank (2009) Case Study
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.
What Is A Short Film?
A short film is defined as a motion picture that is 40 minutes or less. Short films are generally shown at film festivals and have several purposes such as raising awareness of a theme or message, helping filmmakers gain experience, and allowing for experimental ideas. They can also help launch a feature film career, as was the case for Neill Blomkamp whose short film "Alive in Joburg" led Peter Jackson to finance Blomkamp's full-length feature "District 9". Short films typically have small budgets, focus on 1-3 main characters to keep the story concise, and may include twists, though this is not required. They have a niche audience compared to mainstream films.
In Media Oct2009
Conference inmedia 2009 presentation by Geoff Lealand in Christchurch New Zealand 2009. How to use the pitch for media studies high school students
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Presentation in French, given to the GRECA research group, Universite Paris 3 Sorbonne Nouvelle, 30 November 2009
Short film festivals
The document discusses three short film festivals:
The Smalls Film Festival brings together a community of filmmakers from around the world each year and shows how many filmmakers start in advertising or music videos. The British Film Institute (BFI) festival allows filmmakers from all over to share their new work with audiences and often hands out awards like for best short film. The Edinburgh International Film Festival is the longest running film festival in the world held each June where they screen both UK and international films.
Warp film
Warp Films is an independent film company based in London and Sheffield that produces low-budget films that often go on to critical and commercial success. They receive funding from various UK sources like the BFI and Film4. While their films have small budgets, many end up profitable at the box office and win numerous awards. Some of their most acclaimed films that found both success and acclaim include This is England and Submarine. Their ability to produce unique films on tight budgets that resonate with audiences is what makes Warp Films a successful independent studio.
Film exhibition
The document discusses film exhibition, primarily in cinemas. It notes that films can be shown in festivals but the focus is on different types of cinemas and the films they show. The two main types of cinemas in the UK are multiplexes and independent cinemas. Multiplexes first arrived in the UK in the 1980s and were largely situated outside of towns. They were able to show a wide variety of films from different studios. Independent cinemas are typically smaller and show foreign, independent, and experimental films in renovated buildings. They offer a different experience compared to multiplexes.
Warp film
Warp Film is an independent British film company based in London and Sheffield. As an independent studio, it has more limited funding than major studios but seeks financing from various UK film councils and organizations. It stresses the importance of using short films to impress potential funders and get noticed. Some of Warp Film's biggest successes include This Is England, which won several awards, and Submarine, which had a small £1.2 million budget but made over £2 million in profits. However, some of its films like Bunny and the Bull and Grow Your Own were financial flops. Warp Film's success is attributed to securing funding from multiple UK sources and producing low-budget films that are acclaimed and commercially successful.
Phdcci film tourism 2017 brochure
The document summarizes a tourism conclave focused on promoting film tourism. The conclave aims to bring together stakeholders in the film and tourism industries to discuss how featuring destinations in films can boost tourism. Popular films over decades have increased tourism to locations like Switzerland, the UK, and Spain. India produces many films each year across its states and is also a filming destination for international productions. The conclave will include knowledge sharing sessions and exhibitions for destinations to showcase themselves in order to attract more film productions and tourism.
British film lesson SECTION A
The document discusses the British film industry and what makes a film British. It explains that the British Film Council and British Council work to promote and support the British film industry. The British Council defines six criteria for a film to be considered British, including having a British producer, director, cast, or subject matter related to the British experience. The document asks students to analyze film trailers and determine if they meet the criteria to be classified as British films.
Short film award research
The document discusses various award categories and prizes for two different short film festivals:
1) The Edinburgh Short Film Festival awards include Best Director, Best Animated Film, and Rising Star awards. Winners receive cash prizes, tickets, and industry opportunities.
2) The London Short Film Festival awards include Best British Short, Best Cinematography, Best Documentary, and more. Winners receive development sessions, magazine profiles, filming equipment, and festival screenings. Both festivals recognize and celebrate excellence in short filmmaking.
Short Film Award Research
The document discusses various award categories and prizes for two different short film festivals:
1) The Edinburgh Short Film Festival awards include Best Director, Best Animated Film, and Rising Star awards. Winners receive cash prizes, tickets, and industry opportunities.
2) The London Short Film Festival awards include Best British Short, Best Cinematography, Best Documentary, and more. Winners receive development sessions, magazine profiles, filming equipment, and festival screenings. Both festivals recognize and celebrate excellence in short filmmaking.
The British Film Industry 2, CGS
The document discusses several key aspects of the British film industry:
- It identifies the main organizations that support and promote British film, including the BFI and UK Film Council.
- It notes that a film needs to meet three of six criteria to qualify as a British film, such as having a British director or production company.
- It examines box office figures from a sample weekend, finding that while some British films made the top 10, Hollywood blockbusters dominated earnings.
The British Film Industry, CGS
The document discusses several key aspects of the British film industry:
- It identifies the main organizations that support and promote British film, including the BFI and UK Film Council.
- It outlines the criteria for a film to be considered British, such as having a British director or being based on a British story.
- It examines box office data from a sample weekend which shows that while US films dominated the top spots, several British films also performed well, indicating the British industry can attract audiences.
Singapore cinemas industries
Singapore has a developed film industry with over 150 cinema screens across the island. The industry has a long history dating back to the 1930s when Shaw Brothers and Cathay Organization established studios in Singapore. However, the rise of television and imported Hollywood films caused the local industry to decline in the 1960s. The Singapore film industry revived in the 1990s with films like "Bugis Street" and has continued to grow, supported by the Singapore Film Commission. Now, there are frequent film festivals and the industry contributes to the economy through box office revenues. SgBrochure.com provides online references and information on the Singapore cinema industry and movies showing in theaters.
What is a british film funding
The document discusses the British Film Institute and how it funds script development, film production, and distribution for British films through various funds and tax breaks. It also examines different production companies in the UK and case studies of successful British films like Harry Potter, The King's Speech, and Four Lions that received partial funding and tax incentives from British organizations. The challenges of producing and distributing British films that need to appeal to both domestic and international audiences are also addressed.
Script Consultant, Commercial Director or Teacher
This document outlines the education and career experience of an individual with a focus on film. They received an MFA in Film Writing and Directing from New York University and have worked as the Writer, Director and General Manager of Slum Kid Films in Ethiopia, producing award-winning films. They also worked as a Director's Assistant for production companies in New York. The individual has had their films screened at numerous international film festivals and received several grants and awards for their work.
Institutions and Audiences: British Film
This document provides information about studying British film for AS Media Studies, including key learning outcomes and focus areas. It discusses what makes a film British and provides examples of British films that have been nominated for awards. It also covers the requirements of the exam, finance and funding of British films, the roles of production companies and distributors, and targeting audiences. Case studies are used to illustrate concepts around the production and distribution of independent British films.
ppt on film finance
Film finance involves determining the commercial viability of a film project during development prior to production. It is a subset of project finance that relies on the film's revenue rather than external sources to repay investors. Producers assemble a package including the script, budget, and director/cast details to pitch to potential financial backers. If research suggests sufficient audience interest, the film receives funding to proceed to production. Distribution then markets and circulates the completed film to theaters and home viewers to generate returns for the studio, producers, and investors.
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The document discusses the novella "The Turn of the Screw" by Henry James and its film adaptation "The Innocents" directed by Jack Clayton. It notes some key similarities and differences between the source material and the film version, including character development and ambiguity. It also questions whether Deborah Kerr was the best casting choice for the main character given differences from the novella. Finally, it analyzes Clayton's approach to adapting the novella and maintaining or altering elements of ambiguity and interpretation.
Howl
The document discusses Rob Epstein and Jeffrey Friedman's film adaptation of Allen Ginsberg's poem "Howl". It was not a traditional documentary, but rather a portrait of Ginsberg that also provided historical context of the poem and its impact. As an adaptation, it fell into the "colonization" category where the directors put their own unique style onto the source material. The film received mixed critical reviews for not fitting neatly into a single genre as either a biopic, documentary, or loose adaptation.
Ghost World
This document discusses the film adaptation of the comic book "Ghost World" and how it compares to the source material. Some key points:
- The film was co-written by Daniel Clowes, the author of the comic, and Terry Zwigoff, who directed.
- It features a realistic aesthetic rather than a stylized comic book look. The characters are ordinary and the performances are grounded.
- It translates themes of loneliness and isolation from the comic well. Some story and character elements were adjusted for the new medium.
- References and allusions to other comics and pop culture of the time period are included, maintaining ties to the source material. The adaptation prioritizes character over
Don't Look Now
This document discusses Nicholas Roeg's film adaptation of the Daphne du Maurier short story "Don't Look Now". It suggests that Roeg both celebrates and adjusts the source material. He celebrates it by focusing on its themes and motifs, but also makes adjustments like emphasizing the role of water and Venetian setting. Overall, the adaptation succeeds because while it makes changes, it remains faithful to the sentiment of the original story.
Curious Case of Benjamin Button
This document discusses the film adaptation of the short story "The Curious Case of Benjamin Button" in three main points:
1. The film expands greatly on the short story, telling the entire life story of the character Benjamin Button over 166 minutes compared to the original short story.
2. The film revises the character of Benjamin to be less complex than in the short story by focusing more on his love story with Daisy rather than solely on Benjamin.
3. The adaptation takes some imitation of updating aspects of the source material like setting parts of the story during Hurricane Katrina in 2005 but refuses to change other classic elements, resulting in a messy narrative.
Samson and Delilah: (Inter)National Reception
Samson and Delilah was celebrated at international film festivals as a global love story rather than an indigenous Australian film. However, it is often misinterpreted as a social problem film when viewed outside of a festival context. When cultural codes are lost in translation to other countries, films like Samson and Delilah risk being misunderstood rather than appreciated as love stories. Viewing the film with cast and crew at festivals or events allows for important conversations that provide context and help international audiences properly comprehend the cultural codes.
The Rover: Robert Connolly's White Paper
The document discusses issues with the Australian film industry, specifically regarding The Rover's $12 million budget and poor box office returns. It argues the industry has perverse incentives, like fees being based on budget percentages, that encourage inflated budgets without regard for audience or box office potential. It suggests moving to flat fees and linking funding to past success and box office returns to incentivize lower budgets and audience-focused filmmaking.
Tomorrow, when the war began: Test Audiences
Test screenings allow film producers to anticipate audience reception of a film by showing it to test audiences and collecting feedback. Test screenings can help identify problems and make corrections, but some argue they dilute challenging ideas. Most successful recent Australian films conducted test screenings. Producers can learn about audience demographics to inform marketing. While test screenings provide useful information, producers must filter feedback through their vision for the film.
33 postcards: Australia and China Co-production
This document discusses the challenges and opportunities of the Australia-China co-production 33 Postcards. It notes that the film tells an international story through a Chinese lens, exploring Australia and multiculturalism from the perspective of a Chinese character. However, meeting the requirements of both countries' film industries created challenges around budget, casting, and storytelling conventions. Ultimately, co-productions may increase financing and marketing opportunities by tapping multiple government incentives and opening works to larger audiences internationally.
Finding Nemo: What is an Australian Film
This document discusses a survey that found many people incorrectly identified non-Australian films as Australian. It notes Finding Nemo was nominated as Australian. It then considers what makes a film Australian, discussing how Finding Nemo engages with Australia as a place through its research, director, casting of Australian actors, and landscapes depicted. While a co-production, it had success in Australia and positive reviews, showing how films can resonate with local audiences through various connections beyond just production. The document argues for rethinking how we define Australian films in a globalized world.
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Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspiration
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Saga
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
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1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfolio
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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Balibo: International-Australian Film
- 1. The problems of an international-Australian film Balibo Dr Steve Gaunson Australian Cinema, COMM1033, RMIT University
- 2. Distribution is an important part of international-Australian cinema “Cinema is one of the major institutions of internationalism and/or cosmopolitanism in Australian culture, yet Australian film policy has been habitually discussed, and Australian film history customarily formulated, within a culturally nationalist framework… The founding presumption and conclusion of this approach — the doomed, romantic struggle of Australian film produces — limits the definition of the Australian cinema industry to its smallest and least powerful section, production, at the expense of incorporating distribution and exhibition”. — Mike Walsh, 2007
- 3. Good film ≠ good box office Smart distribution = good box office Ruth Harley (then) CEO Screen Australia, 2008 The distributors know their business, that they know what to spend on the release of any particular film and they know that because they’ve got an expectation of box office and an expectation of ancillary rights. So I’m not inclined to think that Screen Australia should meddle in that business model.
- 4. Balibo was a box-office failure • Budget: $4.8m • Opening weekend: $206,290 • Overall Box office: $1.3m • needs $6m to break even • What happened? 206290 1300000 6000000 0 1000000 2000000 3000000 4000000 5000000 6000000 7000000 Opening Overall Required Balibo – Box Office
- 5. Balibo did everything required: Major Awards and Screenings • Brisbane International Film Festival (2009) • IF Productions Pty Ltd (2009) • London Film Festival (2009) • Melbourne International Film Festival (2009) • Pusan International Film Festival (2009) • Toronto International Film Festival (2009) • AWGIE Awards (2010) • Critical success: – Positive reviews – Good word of mouth – International distribution AFI - 10 nominations (wins 5) • Best Supporting Actor – Oscar Isaac • Best Lead Actor – Anthony LaPaglia • Best Screenplay, Adapted – Robert Connolly • Best Achievement in Editing – Nick Meyers
- 6. Successful Australian Films in 2009 – the year of Balibo 14,991,787 10,643,250 7,588,162 3,857,7433,188,931 1,300,000 0 2,000,000 4,000,000 6,000,000 8,000,000 10,000,000 12,000,000 14,000,000 16,000,000 Box-office Box-office
- 7. • Balibo’s problem was its distribution in various exhibition fields – In some places - it played in multiplexes – In others - it played in independent cinemas • Its national opening was simultaneous – not staggered • Relied on auto-piloted press and promotion • Failed to consider DVD and online arenas – as much as theatrical ones
- 8. Aug. 6–9 Aug. 13–16 Aug. 20–23 Aug. 27–30 Sept. 3–6 Sept. 10–13 Sept. 17–20 Screens 14 23 25 33 35 49 46 Weekly BO $28,525 $171,654 $123,064 $110,053 $72,250 $92,536 $55,892 $0 $20,000 $40,000 $60,000 $80,000 $100,000 $120,000 $140,000 $160,000 $180,000 $200,000 AxisTitle Balibo
- 11. Australians involvement in the ‘myth’ of International place
- 12. Doesn’t explain why place is important ‘international’ doesn’t automatically mean extra box office
Editor's Notes
- ‘international’ isn’t always good — needs to appeal to Australians ‘Denationalisation’ = bad marginalized national knowledge is also problematic Balibo becomes a history lesson — but do Aussies care?
- Production also doesn’t concentrate on exhibition and distribution
- Continuing problems of Screen Australia: Should promote self-distribution or non-theatrical distribution as valid release methods that would benefit from funding assistance. Should publish case studies of successful and imaginative distribution campaigns Shouldn’t exploit the myth of ‘film piracy’ – to limit where and how Australian films can seen Shouldn’t ignore inflated ticket prices as a deterrent to visit the cinema
- Staggered release are important: Open on fewer screens Find release in non-competitive times (These Final Hours) Build word of mouth Create overseas buzz
- Connolly has limited his films to screens
- How is the film establishing itself as ‘international’ – and using that to market itself positively Film needs to answer: why is the ‘international’ important to ‘national’