BSR Characteristics
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British Social Realism films focus on realistic portrayals of social issues that commonly occur in daily life such as teenage pregnancy, drugs, gang violence, and domestic abuse. They use unknown actors and real locations to immerse viewers in the lives of working-class characters. Typical conventions include low budgets to maximize realism and avoid glorifying the lifestyles of upper classes. Some examples of British Social Realism films are This England & Cubs about drama and crime, and About a Girl about poverty and domestic violence. Film institutions that promote the genre include Woodfall Films, Film4, and the Crown Film Unit.
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Collective identity & UK film
This document discusses collective identity and British culture. It defines collective identity as a shared sense of belonging to a group and examines how British culture and films are defined. British films are divided into 5 categories based on factors like director, cast, production company, and level of British involvement and investment. Independent films typically have lower budgets than commercial films and feature unknown actors and urban settings, while commercial films are larger blockbusters released in cinemas. Case studies of the independent film Anuvahood and commercial film Bridget Jones's Diary illustrate these differences.
Target audience and genre research
Peaky Blinders is a British crime drama series set in post-World War 1 Birmingham, England. The show follows the exploits of the Peaky Blinders gang led by Tommy Shelby as they rise to power in the world of organized crime. The genre is crime fiction and the target audience is television drama enthusiasts and fans attracted to the show airing on BBC Two, as well as a wider audience interested due to the casting of popular actors. While the production value is high, critics note the storylines are less complex than other television dramas due to the shorter six-episode seasons. The show incorporates both conventions of the crime drama genre and some unconventional elements.
Peaky blinders
Peaky Blinders is a BBC crime drama set in 1919 Birmingham following a gang of former soldiers led by Tommy Shelby. While initially aired on BBC Two targeting highbrow audiences, the show uses some mainstream conventions. Some critics argue this diluted the show's artistic merit and realism for popularity. However, others praise its production values and cinematography. The show attracted audiences by breaking stereotypes of Brummies and featuring acclaimed film stars like Cillian Murphy, Sam Neill and Helen McCrory in leading roles.
British and american film
The document provides a historical overview of British and American cinema from the late 19th century to the 2000s. It notes that early silent films were short clips shown before 1910, and pioneers like the Lumiere Brothers experimented with techniques. Charlie Chaplin became the first Hollywood star in the 1910s. Sound was introduced in the late 1920s. Iconic directors from the 1930s-1960s included Alfred Hitchcock and influential actors included James Dean. Popular genres of the 1990s-2000s included action, comedy, animation, and superhero films from directors like Christopher Nolan and Quentin Tarantino.
3 Which Media Institute would distribute your product and why?
Our independent British film "Obsession" would likely be distributed by Working Title, a major British production company known for films appealing to both British and wider audiences. Alternatively, ScreenGems or Rainforest Films could distribute to reach broader audiences. Working Title has successfully distributed films with similar themes of relationships and emotions, while ScreenGems and Rainforest Films focus on genres aligned with our film and target audiences that could connect with its cast and themes. As an independent film, our lower budget also means lower risk if the film does not perform as well as hoped.
British film
This document provides an overview of contemporary British film production, distribution, and consumption. It discusses what constitutes a British film and provides categories based on creative and financial contributions. It also examines two recent successful British films as case studies - The Last King of Scotland and This is England. The document outlines the current boom in British film due to television company co-funding and investment. It analyzes genres like social realism and the works of prominent British directors like Ken Loach and Mike Leigh.
What determines a british film
The document discusses what determines whether a film can be considered British. It explores several categories of British films based on factors like financing, cultural content, and personnel. It also examines case studies of films like Trainspotting and Gravity and whether they passed the UK film council's cultural test to be recognized as British films. There is no clear consensus on what constitutes a British film and Britishness in films can be interpreted in different ways based on gritty homegrown productions versus big budget films shot in the UK.
Institutional research
Warner Bros. and Arrow Films are film distributors that target different types of audiences depending on the genre and budget of the films. Warner Bros. is a major studio that distributes big-budget blockbusters like Gravity and The Conjuring, so they would not be interested in distributing the author's low-budget amateur film. Arrow Films is an independent UK distributor that focuses on classic, horror, and cult films similar in scale to the author's low-budget horror film, so they could potentially be interested in distributing it.
Recommended
Collective identity & UK film
This document discusses collective identity and British culture. It defines collective identity as a shared sense of belonging to a group and examines how British culture and films are defined. British films are divided into 5 categories based on factors like director, cast, production company, and level of British involvement and investment. Independent films typically have lower budgets than commercial films and feature unknown actors and urban settings, while commercial films are larger blockbusters released in cinemas. Case studies of the independent film Anuvahood and commercial film Bridget Jones's Diary illustrate these differences.
Target audience and genre research
Peaky Blinders is a British crime drama series set in post-World War 1 Birmingham, England. The show follows the exploits of the Peaky Blinders gang led by Tommy Shelby as they rise to power in the world of organized crime. The genre is crime fiction and the target audience is television drama enthusiasts and fans attracted to the show airing on BBC Two, as well as a wider audience interested due to the casting of popular actors. While the production value is high, critics note the storylines are less complex than other television dramas due to the shorter six-episode seasons. The show incorporates both conventions of the crime drama genre and some unconventional elements.
Peaky blinders
Peaky Blinders is a BBC crime drama set in 1919 Birmingham following a gang of former soldiers led by Tommy Shelby. While initially aired on BBC Two targeting highbrow audiences, the show uses some mainstream conventions. Some critics argue this diluted the show's artistic merit and realism for popularity. However, others praise its production values and cinematography. The show attracted audiences by breaking stereotypes of Brummies and featuring acclaimed film stars like Cillian Murphy, Sam Neill and Helen McCrory in leading roles.
British and american film
The document provides a historical overview of British and American cinema from the late 19th century to the 2000s. It notes that early silent films were short clips shown before 1910, and pioneers like the Lumiere Brothers experimented with techniques. Charlie Chaplin became the first Hollywood star in the 1910s. Sound was introduced in the late 1920s. Iconic directors from the 1930s-1960s included Alfred Hitchcock and influential actors included James Dean. Popular genres of the 1990s-2000s included action, comedy, animation, and superhero films from directors like Christopher Nolan and Quentin Tarantino.
3 Which Media Institute would distribute your product and why?
Our independent British film "Obsession" would likely be distributed by Working Title, a major British production company known for films appealing to both British and wider audiences. Alternatively, ScreenGems or Rainforest Films could distribute to reach broader audiences. Working Title has successfully distributed films with similar themes of relationships and emotions, while ScreenGems and Rainforest Films focus on genres aligned with our film and target audiences that could connect with its cast and themes. As an independent film, our lower budget also means lower risk if the film does not perform as well as hoped.
British film
This document provides an overview of contemporary British film production, distribution, and consumption. It discusses what constitutes a British film and provides categories based on creative and financial contributions. It also examines two recent successful British films as case studies - The Last King of Scotland and This is England. The document outlines the current boom in British film due to television company co-funding and investment. It analyzes genres like social realism and the works of prominent British directors like Ken Loach and Mike Leigh.
What determines a british film
The document discusses what determines whether a film can be considered British. It explores several categories of British films based on factors like financing, cultural content, and personnel. It also examines case studies of films like Trainspotting and Gravity and whether they passed the UK film council's cultural test to be recognized as British films. There is no clear consensus on what constitutes a British film and Britishness in films can be interpreted in different ways based on gritty homegrown productions versus big budget films shot in the UK.
Institutional research
Warner Bros. and Arrow Films are film distributors that target different types of audiences depending on the genre and budget of the films. Warner Bros. is a major studio that distributes big-budget blockbusters like Gravity and The Conjuring, so they would not be interested in distributing the author's low-budget amateur film. Arrow Films is an independent UK distributor that focuses on classic, horror, and cult films similar in scale to the author's low-budget horror film, so they could potentially be interested in distributing it.
Question 4
The target audience for the media product Cyberbully would be primarily white British females between the ages of 16-20 who consume media through online streaming services like Netflix. This audience engages heavily with social media and can relate to the isolated characters in the film. Similar films this audience enjoys are those depicting violence like Kill Bill and Pulp Fiction as well as British shows that portray reckless teenage behavior like Skins and This Is England.
Working Title - Representing Britishness
This document discusses how the concept of "Britishness" is represented in films produced by Working Title from the 1980s to 2000s. It analyzes how their films portrayed Britishness through representations of minorities in the 1980s, exporting an image of Britishness through romantic comedies in the 1990s, and portraying heritage and history in period films of the 2000s. Specific films like My Beautiful Laundrette, Notting Hill, Four Weddings and a Funeral, Atonement, and Hot Fuzz are examined in terms of how they portrayed British identity, values, class, location, and history in relation to the social and political contexts of their eras.
British film vs american film
The document compares key differences between British and American films. It notes that British films often feature location shooting, wide shots, unknown actors, semi-improvised scripts, and explore social issues in a realistic way. They also have a combination of humor and seriousness. American films typically have higher budgets, use of studios over locations, feature professional actors, focus on romance and escapism, and employ special effects. It then provides details on major British and American film companies and funding sources for British films.
Theory audience pro-forma(2)[6]
The document discusses audience theory for several films and media sources. For the James Bond trilogy, the primary audience is identified as 13-20 year old boys/men who enjoy action films. The secondary audience is Bond fans aged 30+. For Toy Story 4, the primary audience is all ages since it's rated U, and the secondary audience is broad since the original films were popular with parents. For the Stephen King film IT, the primary audience is 18-30 year old horror fans, and the secondary audience is 30+ who may have seen the original. The document also discusses uses and gratifications theory applied to the BBC, defining consumer generated content, and listing different psychographic audience categories.
Revision Task 2
The document discusses strategies used by films appealing to both national and global audiences. The Hobbit uses CGI and its status as a prequel to appeal worldwide, while also employing famous British actors to attract UK viewers. The World's End is technically an American film since its British producer was bought by a US conglomerate, but it uses a British cast and setting to appeal to local audiences. 3D films have become more popular globally but the author finds 3D unappealing since they did not grow up with it.
Warp films
Warp Records founded Warp Films to produce music videos and short films. Warp Films' first short film to gain attention was Chris Morris' "My Wrongs", which won a BAFTA in 2003. Warp Films' breakthrough film was Shane Meadows' 2007 film "This Is England" which cost just £1.5 million to produce. Warp Films distributes its films through different partners in different countries to maximize exposure. It also promotes its films through the artists on its record label, like giving Richard Ayoade the opportunity to direct videos for Arctic Monkeys which later led to him directing the Warp Films production "Submarine".
Working titles
Working Titles was founded in 1983 and produced films independently until partnering with Polygram in 1992. This partnership helped Working Titles grow and find success producing films for Universal. Universal's involvement helped Working Titles appeal to American audiences through adaptations that included American elements, leading to much higher domestic box office gross in the US. Key figures like Richard Curtis and recurring actors like Hugh Grant were also important to Working Titles' popular romantic comedies that targeted female audiences. When distributing films in the US, modifications were sometimes made to marketing, like alternative posters that focused less on British stars and more on storylines, to appeal to American audiences.
I, Daniel Blake film Case Study
The document provides information about the film I, Daniel Blake including its production, distribution, marketing, genre, audience, narrative, and critical and commercial success. It was directed by Ken Loach, stars Dave Johns and Hailey Squires, and focuses on two characters affected by the UK benefits system. The film was marketed through grassroots screenings, social media campaigns, and press coverage of its themes. It was a critical success, winning the Palme d'Or at Cannes, and sparked political debate around welfare reform in the UK.
British social realism
British social realism films aim to portray realistic depictions of British culture and everyday life. They typically use non-professional actors, shoot on location instead of in studios to feel authentic, and may use semi-improvised scripts and dialogue. Wide shots are often used to give context of the surroundings. Technical aspects like natural lighting and handheld camerawork further reinforce the realistic style of this genre.
Media Studies Evaluation 3
The student analyzed potential media institutions to distribute their post-apocalyptic film. Major studios like Warner Bros and Lionsgate were deemed unsuitable due to the film's low budget and lack of famous actors. Independent British film companies like DNA Films and Palace Pictures would be more interested since they distribute similar genre films set in Britain. The student also proposed advertising the film at small UK film festivals focused on new British directors, such as the British Independent Film Festival, rather than large cinema chains that prioritize blockbuster films.
Lo3
The document discusses various marketing strategies for an upcoming James Bond film, including:
1) Holding a press junket in London with many of the same UK and international newspapers, magazines, radio and TV outlets invited as for previous Bond films.
2) Aiming trailers for the new film at audiences of other 12 rated and action/thriller genre films.
3) Creating viral marketing campaigns, while being careful that content is appropriate and doesn't give too much of the film away.
Audience
The document discusses the target audience for the opening of a British gangster film. It aims the opening at males ages 18-35, as this is the minimum age allowed due to language and drug use. It also discusses drawing in audiences who enjoyed similar previous films in the genre through use of genre conventions. Additionally, it notes that broadening the character diversity beyond just white characters allowed them to target more social groups and potentially increase profits by appealing to a wider audience.
As evaluation question 3
This document discusses distribution strategies for different types of films. It notes that the film Monsters had a cinema and DVD release distributed by Vertigo Films that earned 10 times the production budget. It was also distributed through video on demand on Momentum's website. Avatar had a huge global cinema release enabled by digital copies to prevent piracy. Iron Sky had a limited worldwide success, while a single day theatrical release and same week DVD release by Revolver Entertainment was a disaster. The author proposes distributing their low-budget, Tarantino-inspired British film similar to Monsters, by carefully targeting fans of specific genres as Monsters targeted monster movie and low-budget film fans.
Britishness in our film
This document discusses what it means to be British and how British identity is represented in films. It identifies several aspects of British culture including food, drink, sports, landmarks, and history. It then asks questions about what audiences expect from British films and how they might differ from American films. The document outlines some common British film genres like social realism films that explore social issues and romantic comedies featuring urban fairytales. It analyzes how two example films, Four Lions and Love Actually, fit within the genres of social realism and romantic comedy respectively. Students are then instructed to analyze one of the films in more depth for homework.
As media evaluation question 3
This document discusses distribution strategies for low-budget films. It analyzes how Vertigo Films and other companies have successfully distributed similar films. Vertigo Films distributes low-budget British films and helped films like Monsters (2010) find audiences. The document also discusses the fictional film Mendacity (2017), which will be distributed by the made-up company W Studios using strategies inspired by Vertigo Films, targeting fans of low-budget British crime thrillers.
Question 4 evaluation
The target audience for the media product is young males under 25 who enjoy action and adventure films involving physical activity like free running and chase scenes. They enjoy weapons like guns and prefer less mainstream British films, music, and films. They have a slight interest in mafia and would likely be fans of films like Bourne Supremacy that involve a young male protagonist in casual clothes in an urban setting.
Lo3
The document discusses various marketing strategies for the James Bond film "Skyfall", including:
1. A press conference was held in London with media from newspapers, magazines, radio, TV, and websites from both the UK and abroad to promote the film.
2. Trailers for "Skyfall" will be shown before other 12-rated and action/thriller films due to the film likely receiving a 12 or 12A rating.
3. An informal survey found that most James Bond fans would see a movie poster on the internet, at bus stops, or billboards.
4. A viral marketing campaign could both help promote the film but also risk exposing younger audiences to inappropriate content.
Tuesday 5th december 2017
The document discusses film regulations and the British Board of Film Classification (BBFC). The BBFC provides age ratings for all films released in the UK and works as an independent organization. For the film Spectre, some scenes depicting graphic violence caused complaints and led the BBFC to recommend an initial 15 rating. Sony then edited scenes of fighting to obtain a 12A rating, which means fewer people can view the film than with lower ratings. The regulations and ratings aim to restrict viewing of inappropriate content by younger audiences.
Jamie dowds
This document discusses film distribution options for a low-budget British horror film. It suggests that Soda Pictures, a UK film distribution company known for low-budget films, may be interested in distributing the film. Soda previously distributed the horror film "Only Lovers Left Alive," so they could appeal to the same audience. The film may also have wider international appeal beyond the UK because horror films have large global fan bases, and casting solely British actors makes it unique compared to American horror films. Marketing strategies discussed include releasing the film a few months after major blockbusters to take advantage of less competition. Self-distribution is also mentioned as an option.
Evaluation 3
British independent films typically have lower budgets than Hollywood blockbusters because British production companies cannot afford large budgets. Most British films do not use many production and distribution companies either, as they cannot pay for production and distribution due to their small budgets. In contrast, Hollywood blockbusters have higher budgets as they are funded by major conglomerates like Disney, Universal, and Warner Bros. These large companies can afford big budgets to attract large audiences with famous actors and quality resources.
British social realism 2
British social realism films aim to portray realistic depictions of British culture and everyday life. They typically use non-professional actors, shoot on location instead of in studios to achieve authenticity, and sometimes employ semi-improvised scripts and dialogue. Wide shots are commonly used to provide context about the surroundings. Technical aspects like natural lighting and handheld camerawork further reinforce the realistic style of this genre.
Genre Research Rahel
The document discusses the genre of social realism in film. Social realism draws attention to the everyday conditions of the working classes and poor by utilizing a descriptive or critical realism style. Examples given are films like KidultHood and AdultHood which show the struggles youth face finding work and avoiding illegal activities. Many British social realism films explore issues like poverty, class segregation, and gang violence through location shooting and portraying realistic dialects, settings and issues. The genre aims to raise awareness of social issues through dramatic stories.
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Question 4
The target audience for the media product Cyberbully would be primarily white British females between the ages of 16-20 who consume media through online streaming services like Netflix. This audience engages heavily with social media and can relate to the isolated characters in the film. Similar films this audience enjoys are those depicting violence like Kill Bill and Pulp Fiction as well as British shows that portray reckless teenage behavior like Skins and This Is England.
Working Title - Representing Britishness
This document discusses how the concept of "Britishness" is represented in films produced by Working Title from the 1980s to 2000s. It analyzes how their films portrayed Britishness through representations of minorities in the 1980s, exporting an image of Britishness through romantic comedies in the 1990s, and portraying heritage and history in period films of the 2000s. Specific films like My Beautiful Laundrette, Notting Hill, Four Weddings and a Funeral, Atonement, and Hot Fuzz are examined in terms of how they portrayed British identity, values, class, location, and history in relation to the social and political contexts of their eras.
British film vs american film
The document compares key differences between British and American films. It notes that British films often feature location shooting, wide shots, unknown actors, semi-improvised scripts, and explore social issues in a realistic way. They also have a combination of humor and seriousness. American films typically have higher budgets, use of studios over locations, feature professional actors, focus on romance and escapism, and employ special effects. It then provides details on major British and American film companies and funding sources for British films.
Theory audience pro-forma(2)[6]
The document discusses audience theory for several films and media sources. For the James Bond trilogy, the primary audience is identified as 13-20 year old boys/men who enjoy action films. The secondary audience is Bond fans aged 30+. For Toy Story 4, the primary audience is all ages since it's rated U, and the secondary audience is broad since the original films were popular with parents. For the Stephen King film IT, the primary audience is 18-30 year old horror fans, and the secondary audience is 30+ who may have seen the original. The document also discusses uses and gratifications theory applied to the BBC, defining consumer generated content, and listing different psychographic audience categories.
Revision Task 2
The document discusses strategies used by films appealing to both national and global audiences. The Hobbit uses CGI and its status as a prequel to appeal worldwide, while also employing famous British actors to attract UK viewers. The World's End is technically an American film since its British producer was bought by a US conglomerate, but it uses a British cast and setting to appeal to local audiences. 3D films have become more popular globally but the author finds 3D unappealing since they did not grow up with it.
Warp films
Warp Records founded Warp Films to produce music videos and short films. Warp Films' first short film to gain attention was Chris Morris' "My Wrongs", which won a BAFTA in 2003. Warp Films' breakthrough film was Shane Meadows' 2007 film "This Is England" which cost just £1.5 million to produce. Warp Films distributes its films through different partners in different countries to maximize exposure. It also promotes its films through the artists on its record label, like giving Richard Ayoade the opportunity to direct videos for Arctic Monkeys which later led to him directing the Warp Films production "Submarine".
Working titles
Working Titles was founded in 1983 and produced films independently until partnering with Polygram in 1992. This partnership helped Working Titles grow and find success producing films for Universal. Universal's involvement helped Working Titles appeal to American audiences through adaptations that included American elements, leading to much higher domestic box office gross in the US. Key figures like Richard Curtis and recurring actors like Hugh Grant were also important to Working Titles' popular romantic comedies that targeted female audiences. When distributing films in the US, modifications were sometimes made to marketing, like alternative posters that focused less on British stars and more on storylines, to appeal to American audiences.
I, Daniel Blake film Case Study
The document provides information about the film I, Daniel Blake including its production, distribution, marketing, genre, audience, narrative, and critical and commercial success. It was directed by Ken Loach, stars Dave Johns and Hailey Squires, and focuses on two characters affected by the UK benefits system. The film was marketed through grassroots screenings, social media campaigns, and press coverage of its themes. It was a critical success, winning the Palme d'Or at Cannes, and sparked political debate around welfare reform in the UK.
British social realism
British social realism films aim to portray realistic depictions of British culture and everyday life. They typically use non-professional actors, shoot on location instead of in studios to feel authentic, and may use semi-improvised scripts and dialogue. Wide shots are often used to give context of the surroundings. Technical aspects like natural lighting and handheld camerawork further reinforce the realistic style of this genre.
Media Studies Evaluation 3
The student analyzed potential media institutions to distribute their post-apocalyptic film. Major studios like Warner Bros and Lionsgate were deemed unsuitable due to the film's low budget and lack of famous actors. Independent British film companies like DNA Films and Palace Pictures would be more interested since they distribute similar genre films set in Britain. The student also proposed advertising the film at small UK film festivals focused on new British directors, such as the British Independent Film Festival, rather than large cinema chains that prioritize blockbuster films.
Lo3
The document discusses various marketing strategies for an upcoming James Bond film, including:
1) Holding a press junket in London with many of the same UK and international newspapers, magazines, radio and TV outlets invited as for previous Bond films.
2) Aiming trailers for the new film at audiences of other 12 rated and action/thriller genre films.
3) Creating viral marketing campaigns, while being careful that content is appropriate and doesn't give too much of the film away.
Audience
The document discusses the target audience for the opening of a British gangster film. It aims the opening at males ages 18-35, as this is the minimum age allowed due to language and drug use. It also discusses drawing in audiences who enjoyed similar previous films in the genre through use of genre conventions. Additionally, it notes that broadening the character diversity beyond just white characters allowed them to target more social groups and potentially increase profits by appealing to a wider audience.
As evaluation question 3
This document discusses distribution strategies for different types of films. It notes that the film Monsters had a cinema and DVD release distributed by Vertigo Films that earned 10 times the production budget. It was also distributed through video on demand on Momentum's website. Avatar had a huge global cinema release enabled by digital copies to prevent piracy. Iron Sky had a limited worldwide success, while a single day theatrical release and same week DVD release by Revolver Entertainment was a disaster. The author proposes distributing their low-budget, Tarantino-inspired British film similar to Monsters, by carefully targeting fans of specific genres as Monsters targeted monster movie and low-budget film fans.
Britishness in our film
This document discusses what it means to be British and how British identity is represented in films. It identifies several aspects of British culture including food, drink, sports, landmarks, and history. It then asks questions about what audiences expect from British films and how they might differ from American films. The document outlines some common British film genres like social realism films that explore social issues and romantic comedies featuring urban fairytales. It analyzes how two example films, Four Lions and Love Actually, fit within the genres of social realism and romantic comedy respectively. Students are then instructed to analyze one of the films in more depth for homework.
As media evaluation question 3
This document discusses distribution strategies for low-budget films. It analyzes how Vertigo Films and other companies have successfully distributed similar films. Vertigo Films distributes low-budget British films and helped films like Monsters (2010) find audiences. The document also discusses the fictional film Mendacity (2017), which will be distributed by the made-up company W Studios using strategies inspired by Vertigo Films, targeting fans of low-budget British crime thrillers.
Question 4 evaluation
The target audience for the media product is young males under 25 who enjoy action and adventure films involving physical activity like free running and chase scenes. They enjoy weapons like guns and prefer less mainstream British films, music, and films. They have a slight interest in mafia and would likely be fans of films like Bourne Supremacy that involve a young male protagonist in casual clothes in an urban setting.
Lo3
The document discusses various marketing strategies for the James Bond film "Skyfall", including:
1. A press conference was held in London with media from newspapers, magazines, radio, TV, and websites from both the UK and abroad to promote the film.
2. Trailers for "Skyfall" will be shown before other 12-rated and action/thriller films due to the film likely receiving a 12 or 12A rating.
3. An informal survey found that most James Bond fans would see a movie poster on the internet, at bus stops, or billboards.
4. A viral marketing campaign could both help promote the film but also risk exposing younger audiences to inappropriate content.
Tuesday 5th december 2017
The document discusses film regulations and the British Board of Film Classification (BBFC). The BBFC provides age ratings for all films released in the UK and works as an independent organization. For the film Spectre, some scenes depicting graphic violence caused complaints and led the BBFC to recommend an initial 15 rating. Sony then edited scenes of fighting to obtain a 12A rating, which means fewer people can view the film than with lower ratings. The regulations and ratings aim to restrict viewing of inappropriate content by younger audiences.
Jamie dowds
This document discusses film distribution options for a low-budget British horror film. It suggests that Soda Pictures, a UK film distribution company known for low-budget films, may be interested in distributing the film. Soda previously distributed the horror film "Only Lovers Left Alive," so they could appeal to the same audience. The film may also have wider international appeal beyond the UK because horror films have large global fan bases, and casting solely British actors makes it unique compared to American horror films. Marketing strategies discussed include releasing the film a few months after major blockbusters to take advantage of less competition. Self-distribution is also mentioned as an option.
Evaluation 3
British independent films typically have lower budgets than Hollywood blockbusters because British production companies cannot afford large budgets. Most British films do not use many production and distribution companies either, as they cannot pay for production and distribution due to their small budgets. In contrast, Hollywood blockbusters have higher budgets as they are funded by major conglomerates like Disney, Universal, and Warner Bros. These large companies can afford big budgets to attract large audiences with famous actors and quality resources.
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Similar to BSR Characteristics
British social realism 2
British social realism films aim to portray realistic depictions of British culture and everyday life. They typically use non-professional actors, shoot on location instead of in studios to achieve authenticity, and sometimes employ semi-improvised scripts and dialogue. Wide shots are commonly used to provide context about the surroundings. Technical aspects like natural lighting and handheld camerawork further reinforce the realistic style of this genre.
Genre Research Rahel
The document discusses the genre of social realism in film. Social realism draws attention to the everyday conditions of the working classes and poor by utilizing a descriptive or critical realism style. Examples given are films like KidultHood and AdultHood which show the struggles youth face finding work and avoiding illegal activities. Many British social realism films explore issues like poverty, class segregation, and gang violence through location shooting and portraying realistic dialects, settings and issues. The genre aims to raise awareness of social issues through dramatic stories.
Codes and conventions British social realism
This document discusses several codes and conventions of social realism films in Britain. It notes that these films typically represent the lower working class through their clothing and settings. They also use unknown, non-famous actors and film in actual urban locations rather than studios to make the stories more relatable. The films deal with realistic issues but add humor, and focus on teenage audiences who can relate to the characters. Dialogue is sometimes semi-improvised and regional accents and identities are featured to capture different areas of Britain. Cinematography uses natural lighting and hand-held camera shots for a simplistic, realistic feel.
Codes and conventions realism
This document discusses several codes and conventions of social realism films in Britain. It notes that these films typically represent the lower working class through their clothing and settings. They also use unknown, non-famous actors and film in actual urban locations rather than studios to make the stories more relatable. The films deal with realistic issues but add humor, and focus on teenage audiences who can relate to the characters. Dialogue is sometimes semi-improvised and regional accents and identities are featured to capture different areas of Britain. Cinematography uses natural lighting and hand-held camera shots for a simplistic, realistic feel.
Codes and conventions realism (1)
This document discusses several codes and conventions of social realism films in Britain. It notes that these films typically represent the lower working class through their clothing and settings. They also use unknown, non-famous actors and film in actual urban locations rather than studios to make the stories more relatable. The films deal with realistic issues but add humor, and target teenage/young adult audiences who can relate to the characters. Dialogue is sometimes semi-improvised and regional identities/accents are used to set the location. Cinematography also uses natural lighting and hand-held camera shots for a simplistic style compared to Hollywood films.
Genre research Cheyenne
British social realism films focus on portraying the struggles of everyday working class lives, typically set in run-down urban areas like council estates. They depict issues like poverty, crime, and gangs in a gritty, naturalistic style using unknown actors and locations that feel authentic. Examples given are Kidulthood, set in a London council estate using local cast and locations to feel realistic, and This is England, set vaguely in a run-down northern English town to represent the daily grind of life. The target audience for social realism films has changed over time from middle class adults interested in other cultures to younger audiences who relate more to the modern urban settings and youthful main characters.
Social realism as a genre SECTION B
The document provides information about the genre of social realism in film. It defines social realism as a realistic portrayal of British society that depicts social and economic hardship through unvarnished pictures of life's struggles, often depicting working class activities and experiences. It lists several films that exemplify social realism such as Billy Elliot and discusses conventions of the genre including realistic settings and events, believable filming techniques, gritty styles and urban locations.
Social realism as a genre 2 SECTION B
The document provides information about the genre of social realism in film. It defines social realism as a realistic portrayal of British society that depicts social and economic hardship through unvarnished pictures of real people's lives and struggles. It lists some key conventions of social realism films including realistic settings and events, believable filming techniques, gritty urban locations, and focusing on working class activities and heroes. Examples of notable social realism films from Britain are provided such as Billy Elliot and Kes.
Who would be the audience for your media product?
The document discusses potential audiences for a social realism film or media product. It finds that the demographic most likely to consume social realism includes those who are more intellectual and artistically-minded than a mainstream Hollywood audience. Specific venues and platforms where social realism works are shown or discussed online and which attract audiences interested in and knowledgeable about the genre, including arthouse cinemas, websites like LoveFilm and MUBI, and radio stations like BBC Radio 3 and 4.
Codes and Conventions of British Social Realism
British Social Realism films employ several codes and conventions including location shooting instead of studios, wide shots, non-professional actors, semi-improvised scripts, balancing humor and seriousness, exploring wider social issues through individual stories, and portraying the erosion of regional identities. These techniques aim to portray realistic stories that examine social problems through the lens of personal struggles and triumphs over adversity.
Evaluation Question 3
Film4 would be a suitable media institution to distribute the film because they produce low-budget, special effects-free films focused on social realism like This Is England and Slumdog Millionaire that address issues of gang violence, racism, poverty, and corruption. Revolver Entertainment would also be a good choice as they have distributed similar films dealing with the lives of young people from working-class backgrounds and issues of gang violence.
Section b genre SECTION B
The document discusses conventions of social realism films including:
- Realistic settings that depict working class lives and economic hardship
- Believable filming techniques with gritty urban locations
- Focus on how location and characters' choices shape the narratives
- Key characters are often working class heroes who try to overcome struggles
British vs American films
This is a short picturated presentation i created for my A2 media coursework. It simply expalins the attributes of British and American film, how they are funded and how they are different.
Influential figures for our media production
This document discusses influences for a social realism genre film. It outlines conventions of social realism like exploring social issues through character stories and regional identities. Directors Shane Meadows and Tony Richardson are discussed who made films set in working class communities in England. Actors Andrew Shim and Vicky McClure are mentioned who are known for their roles in Meadows' social realism films. Their use of method acting techniques could influence the film. Production companies Film 4 and the BBC film network are cited as influences because they have produced diverse narratives and documentaries.
Genre research
The document discusses conventions of British independently made drama films and how the group's production will follow these conventions. It will focus on the life of a working class individual living in a rural Midlands community to highlight isolation and represent social issues like depression, alcoholism, and fatherless children. This challenges stereotypes while producing emotional responses in the educated, niche audience for whom social realism films are targeted.
Genre research social realism
Social realism is a genre that focuses on realistic portrayals of everyday life and issues in contemporary society through fictional stories. Some common themes in social realism films include prostitution, drugs, unemployment, money, and sex. These films often feature unknown or non-professional actors and are shot on location rather than in studios to enhance their realistic style. They also portray working class or unemployed characters facing real-world struggles.
Presentation2
Third world films have low budgets but address important political, cultural, and social issues. They tell real stories about struggles in deprived areas and are often funded through donations, loans, sponsorships, and word-of-mouth. Marketing is done through festivals, YouTube, posters, trailers, and word-of-mouth since the films have unknown actors. Third world films show daily life and struggles in other countries while British indie films similarly focus on social issues but within their own country.
Section B Essay
The document discusses the debate around whether global or national film institutions dominate audiences. It notes that global companies like Warner Bros. dominate due to larger budgets, famous actors, and extensive marketing. In contrast, national British companies like Thin Man Films struggle with smaller budgets. As a result, British actors often move to Hollywood for larger paychecks. However, the document argues that national films have greater artistic quality due to more creative storylines out of necessity. While global films are more financially successful, national films make important contributions and can launch careers through lower budget productions with strong scripts.
Workingtitle 160616084210
- Working Title Films is a UK film production company founded in 1983 that is now owned by Universal. It established an independent arm called WT2 in 1999.
- Before being acquired by Universal, Working Title only produced UK films, but now also produces American films. It receives funding from various sources like the BFI and Film4 and helps fund films in exchange for distribution rights.
- Marketing is important for a film's success and involves activities like trailers, posters, websites, talk show appearances, and red carpet events. However, films are generally more successful in America due to its larger market and higher marketing budgets.
Britain & collective identity simisola adeyemi media
This document discusses collective identity and British culture and cinema. It defines collective identity as a sense of belonging to a group that shapes personal identity. British culture is defined by customs like tea drinking. A film can be considered British if it meets three of six criteria: director, producer, cast, subject matter, production company, or co-production with British input. British films are divided into five categories based on funding sources and cultural content. Commercial films are big-budget Hollywood movies while independent films have lower budgets and unknown actors focusing on urban youth culture. The films Notting Hill and Kidulthood are discussed as examples of a commercial British romantic comedy and an independent drama about London youth, respectively.
Similar to BSR Characteristics (20)
Britain & collective identity simisola adeyemi media
Britain & collective identity simisola adeyemi media
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Global perspectives (Cultural Differences)
Ireland and Uganda have different cultures that create challenges for businesses operating internationally. Ireland has a population of 4.85 million with Dublin as its capital, while Uganda has 42.86 million people and its capital is Kampala. Cultural differences like language barriers, views of punctuality, and business customs can negatively impact areas like costs if not properly addressed when companies expand between the two countries. It is important for multinational corporations to understand cultural variations to avoid potential issues and maximize profits when operating globally.
Evaluation question 1
Our film is categorized as a British Social Realism (BSR) film that aims to highlight social issues and provide insight into characters and topics. To develop conventions of the genre, we shot scenes in real environments outside and at a character's home to make it realistic. We also included realistic scenarios involving gang violence and drugs to portray societal issues typically shown in BSR films. Throughout the film, we used various camera shots and challenged conventions like maintaining consistent character outfits to engage audiences and maintain the story. Overall, our film effectively uses and develops conventions of the BSR genre to distinguish it from big budget Hollywood films.
Question 2 evaluation
The combination of the film's main product and ancillary tasks like posters and feature articles was effective in promoting the film. For the posters, portrait photos of the main characters from the film were used along with slogans or quotes to give viewers an idea of the film without revealing too much. Feedback from early viewers was also included. The feature article included a picture of the main character looking at the viewer to engage them, along with the character's name and a quote to provide context. Additional photos were used to show the character and provide an understanding of the film.
Question 4 Evaluation
Slideshare, Adobe Premiere Pro, and YouTube were used at different stages of planning, creating, and sharing a short film. Slideshare allowed presentation of research, Premiere Pro enabled editing and effects during film production, and YouTube provided a platform to share the finished film. Other tools like Piktochart, Blogger, InDesign, internet resources, and camera equipment also supported stages of the process.
Synopsis 2 A2 Media Studies (Elegance Pictures)
The document provides a synopsis for a film called "The Last Pack". It will be targeted towards 16-23 year olds from working class backgrounds to portray the issues of drug dealing prominent in that demographic. The film will receive a 15 classification as it depicts drug use and violence but does not promote or encourage drug misuse. It tells the story of 19 year old Emmanuel "Packz" Thompson, a part-time drug dealer who comes to realize drugs are not a successful solution. He finds mentors to help guide him to a better lifestyle. The film shows how drug dealing environments can negatively influence people and is not a positive method in society.
Synopsis
The document provides a synopsis for a film called "The Last Pack". The target audience is 16-23 year olds from working class backgrounds as drug dealing is prevalent at that age. The film will be classified as a 15 due to some drug use and violence depicted. It follows 19 year old Alex "Packz" Canning, a part-time drug dealer who is trying to reform. Through a mentor he discovers alternatives to his current lifestyle. The film shows the negative impacts of drug dealing and encourages pursuing a brighter future without drugs.
Wasp analysis
This document provides an analysis of the short film "Wasp" directed by Andrea Arnold in 2003. It summarizes the film's portrayal of social issues like poverty faced by single mothers in working class communities. Through the character Zoe, the film shows the struggles and sacrifices single parents make to care for their children with little money and support. It addresses themes like gender roles and social class through its portrayal of characters and setting in Dartford, England. The analysis examines how the film realistically captures the hardships of working class life at the time through Zoe's situation.
The Rain horse
This document provides information about the film "The Rain Horse" including its production details, cast, crew, and film festival screenings. It was funded by BBC Films, the UK Film Council, and Film London. It was directed by Sebastian Godwin from a story by Ted Hughes and stars Jason Isaacs, Aaran Thomas, and Jodie Tomlinson. The document also discusses symbolism in the film and details about costumes, camera shots, and sound used.
Cubs presentation SA VSLH
This document provides information about the 2006 short film "Cubs" directed by Tom Harper. It discusses the producer, production company, director, cast, target audience, awards, symbolism, props, costumes, sound design, dialogue, and how the audience interprets the film. The film follows a group of troubled working class teenagers who bond through urban fox hunting, representing their struggle to fit in and find entertainment with limited opportunities.
Opening shots
The opening shot is important to engage audiences and set the scene. Effective opening shots establish the time, setting, and mood through techniques like long shots that show the character and environment. They create questions that intrigue audiences and make them want to learn more. Producers consider tone and genre when choosing opening shots to properly introduce the film. Mystery or "enigma" shots that leave audiences questioning what is happening can be highly engaging devices. Overall, opening shots aim to orient audiences and immerse them in the story from the beginning.
Elegance picture powerpoint SA
This document outlines a film production company called Elegance Pictures. Their target audience is young adults aged 16-23 as their film will address themes of drugs and depression that this age group commonly faces. Their unique selling points include providing a helpline for audiences and giving opportunities to young filmmakers. Their logo is an eagle to represent the precision they take in filmmaking. Marketing strategies include social media promotion and posters in public transit areas. They aim to produce films in the British Social Realism genre to realistically portray life situations.
Hollywood films vs bsr
British social realism films focus on realistic portrayals of social issues in everyday British life using low budgets, unknown actors, and location shooting, rather than big productions, famous actors, and special effects seen in Hollywood films. They depict bleak but socially conscious stories in contrast to the escapism and high production values of commercial American films.
Cherries Presentation (Shannon Kalinowska, Chay Claridge, Aaminah Nawaz)
The short film Cherries depicts a class of teenage boys who are oblivious to their teacher's attempts to discuss current events. They are handed letters informing them of compulsory military training to support the country's war efforts. The boys argue about this development and are then instructed to go to the school hall to have their identity cards scanned. The film explores the serious tone of conscripting teenage boys for war through realistic depictions of the school setting and uniforms. It aims to serve as a wake-up call for teenage audiences by showing how events beyond their awareness could dramatically impact their lives.
Wasp analysis (Brianna Dawes, Rohil Lmar, Habon)
The document discusses analyzing wasps. It provides key details about wasps including that they are social insects that live in colonies and build paper nests. Their colonies can grow quite large during the summer months when food sources are abundant.
Cubs presentation (Victor Mubiru & Allyssa Padilla)
The short film Cubs addresses the topics of fox hunting and gang crime through the story of a young boy, Ben, who wants to join a local gang. It depicts Ben participating in an illegal fox hunt with the gang. The film aims to raise awareness about gang culture and its influence on youth. It highlights the risks of gun crime and getting involved in gangs at a young age.
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BSR Characteristics
- 1. BSR (British Social Realism) – Characteristics British Social Realismis the type of film which the audience focuses on to give a suggestion what society/life is about. However British Social Realismtends to focus on issues in society which commonly occur on a daily/weekly basis. British Social Realismfilms tend to be based on topics such as: Teenage pregnancy Drugs Gang violence Domestic abuse Mental illnesses Bullying (All types) Etc. Though all of these topics all occur frequently on daily/weekly basis, society overly tend to neglect or brush a side these situations towards the public. With British Social Realismfilms, they help to bring those topics into life by filmand bring these topics to the members of the public attention. The Typical Codes and Conventions British Social Realismfilms use real life topics to portray real life issues within society. So they display these issues by using, real life locations where those typical issues would occur within society. By using real life location, such as council estates or park, it gives the audience an idea on how others in society who have experienced these issues have gone through.
- 2. Another typical code and convention is that British Social Realism is that they tend not to use famous actors such as Will Smith, Eddie murphy because it wouldn’t be realistic to involve famous actors in realistic society problems. With British Social Realism films, they tend to use unknown/less known actors so audience would get a proper insight on how society issues are being portrayed. Another code and convention would be the social class of which they set their characters. In typical Hollywood films, they prefer their actor’s to be upper Class characters to glorify to show off their lifestyle. This could be vehicles, houses, clothing, scenery etc. However in BSR, they tend to make their characters working class level to show how they live their lifestyle in their films. They would display this normally by flats, clothing, scenery, friends etc. In a typical BSR film, you would see council estate, parks, canals etc. Lastly, a code and convention for budgets would tend to be quite low in BSR to make it as realistic as possible. Unlike BSR films, Hollywoodfilms are given loads of money for them to produce their block buster films as well as BSR films overall tend not to attract large crowds of audiences, so BSR films wouldn’t be getting the same budgets as a typical Hollywood film.
- 3. Different BSR Films This is England & Cubs These short films involved Drama and Crime About a Girl This short film involved poverty and domestic violence Define British Social Realism Institutions There are multiple film institutions with the UK which is still expanding for short films. Film institute’s such as: Woodfall: Woodfall film productions are in charge producing the award winning film the loneliness of a Long Distance Runner. The film company overall is known as an old film production, however it still produces outstanding BSR films today.
- 4. Film 4: Film 4 belongs to channel 4 which is broadcasted live through different networks such as BT and Sky. Film 4 is so popular that they can they could broadcast their films themselves which would attract attention for British Social Realism films overall and the typical issues within society. Crown Film Unit: Just like Woodfall film productions, Crown Film Unit have been producing films for very long time, they were most famously known during the world wars. Multiple film companies had gotten their ideas from Crown Film Unit. During the world war times they were even able to produce Oscar winning film like Daybreak in Udi.