The document discusses film distribution in the UK in 2013. It states that 698 films were released in cinemas that year. The top 10 distributors accounted for 97% of box office revenue. Three companies (StudioCanal, eOne and Entertainment) controlled half of box office income from UK independent films.

1. • There were 698 films released in cinemas in the UK and
Ireland in 2013.
• The top 10 distributors account for 97% of the box office
revenue.
• Just three companies (StudioCanal, eOne and
Entertainment) control half of all box office income made on
UK independent films.
To be able to explain the production cycle (level 2)
To be able to analyse the production cycle with reference to case studies (level 3)
To be able to evaluate the production cycle with reference to detailed case studies (level 4)

2. In 2013, the top 10 distributors controlled 96.5% of all the box office
revenue. And despite the increase in the number of films on offer in cinemas,
this has barely changed in the past 16 years.
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To be able to analyse the production cycle with reference to case studies (level 3)
To be able to evaluate the production cycle with reference to detailed case studies (level 4)

3. Unsurprisingly, the major Hollywood studios dominate the
distribution business.
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To be able to evaluate the production cycle with reference to detailed case studies (level 4)

4. However, under the surface we can see that who’s on top
changes most years.
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5. When we strip away the studio-backed films we see a very different scene.
Together eOne, Entertainment and StudioCanal account for half of the box
office generated by UK independent films.
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6. • Opens nationwide in a large number of
cinemas, both multiplexes and
independents.
• This is accompanied by an extensive,
national advertising campaign.
• The film’s stars/director/budget
guarantees a large audience and justifies
the cost of distribution and advertising. A
large return is expected.
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(Blanket Release)

7. • The film is initially released in a small number
of cinemas in major cities, with a concentrated
advertising campaign (local to the release).
• In subsequent weeks, the film expands to
additional screens and more rural areas.
• These films might not have immediate appeal
to a mass market due to unknown actors or
difficult subject matter.
• They can create a strong word-of-mouth buzz
and develop a wider release.
• By limiting the release, the producers reduce
the risk of losing money on a more expensive
distribution campaign.
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8. • Opens in a limited amount of
cinemas – usually independents.
• There is little expectation that
the film will have a wider
release.
• The films usually have a small
budget and the cost of
distribution to return is
uneconomical.
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9. Our cinemas are mainly populated with cinema from America
and Britain. But just how much of these are from American?
Look at the cinema listings across several different cinemas.
 How many American films were there, compared to British films?
 Were there any other types of films?
 Did you notice anything about the types of films that were shown at
different cinemas?
 Were any films difficult to classify?
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10.  Money – bigger films with mass appeal.
 Blanket releases.
 Large advertising budgets.
 Familiarity – we know what we are getting and are
comfortable with them.
 Preference from exhibitors – they know they will sell.
Why the dominance of American cinema?
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Article.

11. To be able to explain media ownership in the film industry (level 2)
To be able to analyse media ownership with reference to case studies (level 3)
To be able to evaluate media ownership with reference to detailed case studies (level 4)
Conduct some research into Disney and find out as much as
you can about what they own. We will then put this onto a
group mind map.

12. • Toy Story 3's budget was US$200 million.
• It grossed over US$1 billion worldwide in theatres.
• It grossed $110,307,189 in its opening weekend in the US.
• It is the highest grossing animated film of all time and 11th highest grossing film of all
time.
Synergy in promoting Toy Story 3:
Pixar made the film, funded by Disney. Disney then distributed the film in theatres
through Walt Disney Studios Motion Pictures and on DVD through Walt Disney Studios
Home Entertainment (vertical integration).
The promotion of the film was aided by Disney being able to air trailers on the Disney
Channel and ABC (owned by Disney). In terms of cross media convergence, it produced a
soundtrack through Walt Disney Records, as well as toys and other merchandise through
Disney Consumer Products, sold through the chain of Disney stores (synergy).
Disney Interactive Studios also produced the game. This led to a second version of the
game being released which crossed over with a new toy line.
To be able to explain media ownership in the film industry (level 2)
To be able to analyse media ownership with reference to case studies (level 3)
To be able to evaluate media ownership with reference to detailed case studies (level 4)

13. To be able to explain media ownership in the film industry (level 2)
To be able to analyse media ownership with reference to case studies (level 3)
To be able to evaluate media ownership with reference to detailed case studies (level 4)
The budget was a whopping US$250 million, which was
added to by the estimated US$100 million spent on
marketing the film.
Considering it only took US$282,778,100, it is estimated
that the film lost Disney US$160million.
Even with all of the potential synergy of the world's largest
media conglomerate, it still bombed.
What does it say about Media ownership that a company can
make such a profit on one film and a loss on another?

14. Key Terms:
• Vertical Integration
When a parent company owns several subsidiaries across the
production and distribution process.
• Horizontal Integration
When a parent company also owns subsidiaries in the same
market – usually by buying out competitors.
• Cross-media Convergence
Two different Media platforms work together to use an idea that
can be promoted, but that benefits both of them. They are
released simultaneously.
• Synergy
This is similar to cross-media convergence, but can include non-
media products such as merchandise.