This document discusses trends in international co-productions of factual television programs. It provides background on successful co-productions like Planet Earth and Wild China. Co-productions allow partners to pool financial resources and access new markets. They provide cultural benefits but also difficulties coordinating between partners. Future trends may include targeting younger audiences, niche topics, and using crowd-funding sites to finance projects instead of relying on commissions. Co-productions will continue to be an important way for factual television to take advantage of globalization.
A Day in the Life of Digital Convergence: The Evolution of TelevisionDanica Christidis
Web Media 207, RWC
Television has become an integral part of most consumer's everyday lives. However over the recent years, the ways in which we interact with television have drastically changed. These changes can be attributed to the rise of digitisation and convergence.
Images featured in this work are either or my own creation or can be reused under copyright law.
The purpose of this work is for educational uses.
A Day in the Life of Digital Convergence: The Evolution of Television by Danica Christidis is licensed under a Creative Commons Attribution 4.0 International License.
References
Eadie, M. (2005). The Digitisation Process: an introduction to some key themes. Retrieved from http://www.ahds.ac.uk/__print__/creating/information- papers/digitisation-process/index.htm.
Jenkins, H. (2006, June 19). Welcome To Convergence Culture. [Web log post]. Retrieved from http://henryjenkins.org/2006/06/welcome_to_convergence_culture.html.
Jenkins, H. (2007, March 22). Transmedia Storytelling 101. [Web log post]. Retrieved fromhttp://henryjenkins.org/2007/03/transmedia_storytelling_101.html.
Leaver, T. (2008). Watching Battlestar Galactica in Australia and the Tyranny of Digital Distance. Media International Australia, 126, 145-154. Retrieved from http://link.library.curtin.edu.au/p?cur_digitool_dc162834.
Leaver, T. (2010). FlashForward or FlashBack: Television Distribution in 2010. Flow TV, 11, 1. Retrieved from http://flowtv.org/?p=4668.
Mittel, J. (2006). Tivoing Childhood. Flow TV, 3, 1. Retrieved from http://flowtv.org/2006/02/tivoing-childhood/.
RobThomas. (2015, January 20). The 2nd #VERONICAMARS novel, #MrKissandTell is now available! I will be at Austin’s Book People 1/30 signing copies. [Tweet]. Retrieved from https://twitter.com/RobThomas/media.
This document provides guidance for students on factual media production. It includes definitions of key terms like accuracy, balance, and impartiality. It also discusses challenges like getting interviews, presenting information without bias, and following OFCOM rules on content for audiences under 18. The document provides examples from documentaries to illustrate concepts like balancing multiple perspectives and representing subjects fairly. It provides instructions on reconstructions, payments for contributions, and ensuring factual accuracy.
Research issues facing producers of factual programming andmattwako
The document provides guidance for a group of students making a documentary on how young people are portrayed in the media. It discusses challenges such as getting interviews, maintaining balance and objectivity, following regulations, and respecting privacy. It recommends learning from examples like "Supersize Me" and "Aileen, Life and Death of a Serial Killer" to handle these challenges appropriately.
This document discusses factual television programming such as documentaries and news. It outlines different types of documentaries, including observational and participatory modes. It also covers conventions used in documentaries and news programs, such as voiceovers, camera work, and graphics. The document addresses issues that can arise with factual programs like bias, accuracy, and representations. It provides examples of when programs were accused of manipulating footage or duping participants. The conclusion discusses an assignment involving creating a Prezi presentation analyzing issues, codes, and examples from factual programming.
This document discusses factual media production. It begins by defining factual media as products that report true information, as opposed to fictional media. It then examines some common types of factual media like documentaries, news broadcasts, newspapers and magazines. The document outlines some key conventions used in factual media, such as formal language, quoting sources verbatim and citing facts. It also compares the structures of radio news programs and documentary TV programs. Finally, it provides guidance on developing a factual media idea, conducting research, creating a proposal, pre-production planning and the production and post-production processes.
A news show follows certain codes and conventions including the use of studio news readers to present stories, field reporters who report from remote locations, and links between reporters and the studio. A typical news report structure involves a main story in the studio followed by a report from a field reporter and may include interviews and actual footage from events. Experts are also sometimes featured to provide context and analysis.
This document provides definitions and examples of key terms related to the film industry. It discusses concepts like vertical integration, where a company owns different parts of the production and distribution process. It gives examples of major studios like Disney and mini-majors like Lionsgate. It also examines how technological changes have led to convergence, with films being distributed through multiple platforms. Examples are given of both large Hollywood films and smaller independent British films.
Lars von Trier and Peter Jackson have significantly influenced film funding in Denmark and New Zealand respectively. Von Trier's Dogme 95 movement brought international attention to Danish cinema in the 1990s and influenced amendments to Danish film laws. Jackson's The Lord of the Rings trilogy generated billions at the box office and spurred New Zealand to create grants aiming to attract large blockbuster productions. Both directors galvanized their national film industries and changed government support policies through their acclaimed and commercially successful films.
A Day in the Life of Digital Convergence: The Evolution of TelevisionDanica Christidis
Web Media 207, RWC
Television has become an integral part of most consumer's everyday lives. However over the recent years, the ways in which we interact with television have drastically changed. These changes can be attributed to the rise of digitisation and convergence.
Images featured in this work are either or my own creation or can be reused under copyright law.
The purpose of this work is for educational uses.
A Day in the Life of Digital Convergence: The Evolution of Television by Danica Christidis is licensed under a Creative Commons Attribution 4.0 International License.
References
Eadie, M. (2005). The Digitisation Process: an introduction to some key themes. Retrieved from http://www.ahds.ac.uk/__print__/creating/information- papers/digitisation-process/index.htm.
Jenkins, H. (2006, June 19). Welcome To Convergence Culture. [Web log post]. Retrieved from http://henryjenkins.org/2006/06/welcome_to_convergence_culture.html.
Jenkins, H. (2007, March 22). Transmedia Storytelling 101. [Web log post]. Retrieved fromhttp://henryjenkins.org/2007/03/transmedia_storytelling_101.html.
Leaver, T. (2008). Watching Battlestar Galactica in Australia and the Tyranny of Digital Distance. Media International Australia, 126, 145-154. Retrieved from http://link.library.curtin.edu.au/p?cur_digitool_dc162834.
Leaver, T. (2010). FlashForward or FlashBack: Television Distribution in 2010. Flow TV, 11, 1. Retrieved from http://flowtv.org/?p=4668.
Mittel, J. (2006). Tivoing Childhood. Flow TV, 3, 1. Retrieved from http://flowtv.org/2006/02/tivoing-childhood/.
RobThomas. (2015, January 20). The 2nd #VERONICAMARS novel, #MrKissandTell is now available! I will be at Austin’s Book People 1/30 signing copies. [Tweet]. Retrieved from https://twitter.com/RobThomas/media.
This document provides guidance for students on factual media production. It includes definitions of key terms like accuracy, balance, and impartiality. It also discusses challenges like getting interviews, presenting information without bias, and following OFCOM rules on content for audiences under 18. The document provides examples from documentaries to illustrate concepts like balancing multiple perspectives and representing subjects fairly. It provides instructions on reconstructions, payments for contributions, and ensuring factual accuracy.
Research issues facing producers of factual programming andmattwako
The document provides guidance for a group of students making a documentary on how young people are portrayed in the media. It discusses challenges such as getting interviews, maintaining balance and objectivity, following regulations, and respecting privacy. It recommends learning from examples like "Supersize Me" and "Aileen, Life and Death of a Serial Killer" to handle these challenges appropriately.
This document discusses factual television programming such as documentaries and news. It outlines different types of documentaries, including observational and participatory modes. It also covers conventions used in documentaries and news programs, such as voiceovers, camera work, and graphics. The document addresses issues that can arise with factual programs like bias, accuracy, and representations. It provides examples of when programs were accused of manipulating footage or duping participants. The conclusion discusses an assignment involving creating a Prezi presentation analyzing issues, codes, and examples from factual programming.
This document discusses factual media production. It begins by defining factual media as products that report true information, as opposed to fictional media. It then examines some common types of factual media like documentaries, news broadcasts, newspapers and magazines. The document outlines some key conventions used in factual media, such as formal language, quoting sources verbatim and citing facts. It also compares the structures of radio news programs and documentary TV programs. Finally, it provides guidance on developing a factual media idea, conducting research, creating a proposal, pre-production planning and the production and post-production processes.
A news show follows certain codes and conventions including the use of studio news readers to present stories, field reporters who report from remote locations, and links between reporters and the studio. A typical news report structure involves a main story in the studio followed by a report from a field reporter and may include interviews and actual footage from events. Experts are also sometimes featured to provide context and analysis.
This document provides definitions and examples of key terms related to the film industry. It discusses concepts like vertical integration, where a company owns different parts of the production and distribution process. It gives examples of major studios like Disney and mini-majors like Lionsgate. It also examines how technological changes have led to convergence, with films being distributed through multiple platforms. Examples are given of both large Hollywood films and smaller independent British films.
Lars von Trier and Peter Jackson have significantly influenced film funding in Denmark and New Zealand respectively. Von Trier's Dogme 95 movement brought international attention to Danish cinema in the 1990s and influenced amendments to Danish film laws. Jackson's The Lord of the Rings trilogy generated billions at the box office and spurred New Zealand to create grants aiming to attract large blockbuster productions. Both directors galvanized their national film industries and changed government support policies through their acclaimed and commercially successful films.
The document discusses the relationship between the film industry and audiences. It examines how the industry both creates meaning through film production and relies on audiences to interpret and process films in various ways. The industry aims to bring films to audiences to maximize success and profits, not just at the box office but through diverse distribution platforms. The relationship is dynamic, with the industry needing to listen to and respond to audiences while audiences also develop behaviors beyond the industry's control.
Weerada Sucharitkul (Co-founder of FilmDoo) at Digital Media Day 2016IDCEE
Weerada Sucharitkul, Co-founder of FilmDoo speaks about film distribution and what FilmDoo has to offer to filmmakers across the globe at Digital Media Day 2016 within the framework of the 7th Odessa International Film Festival.
https://www.linkedin.com/in/sucharitkul
https://www.filmdoo.com/about-us/
https://oiff.com.ua/en/index.htm
https://www.facebook.com/odessaiff/
https://www.facebook.com/TAVentures2010/
OCR MEDIA - G322 Section B Revision Guide ppttessiemedia
The document discusses the British film Trainspotting, describing it as a gritty and realistic portrayal of heroin addiction in Scotland that was both critically acclaimed and commercially successful. It explores themes of urban poverty and the dark side of drug culture while also being fascinating to audiences. While some accused it of glamorizing drug use, it was praised for its social realism in representing British youth subcultures of the time. The film was a hit in both Britain and the United States.
The document provides a history of the film industry from the early 20th century studio system to modern independent production models. It discusses how studios originally functioned like factories by owning all aspects of production and distribution. This system broke down due to antitrust laws which led to an era of independent production companies assembling for individual films. More recently, the industry has adapted to television and home video markets by making films more special experiences and selling catalog titles. Modern filmmaking is characterized by global distribution, product placements, franchises, and CGI effects to reduce risks and ensure profits.
The document provides information about FilmFour, a British film production company. It discusses some of FilmFour's most successful films like Trainspotting and Four Weddings and a Funeral. It also addresses issues like representing diversity in British cinema, competing with major Hollywood studios, and adapting to changes in film consumption and technology.
British film funding and fifth estate case studyKStockwell
The document discusses the British Film Industry and provides context on key organizations, funds, and tax incentives that support the industry. It also examines several successful British films like Harry Potter and The King's Speech that received backing from these national supports. Challenges facing British films like achieving profitability and appealing to international audiences are also addressed. Questions are posed about strategies to strengthen the industry and importance of British talent and internationally-known stars.
The document discusses several key aspects of the film industry:
1) Large film studios, called "conglomerates", can produce, distribute, and sell their own films, merchandise, games, and more through various subsidiaries.
2) When companies join together in the film industry, it is called a "studio system" or they may form independent production companies.
3) Films that are distributed across multiple platforms like cinema, TV, online, mobile etc. are experiencing "technological convergence".
4) The success of films can be boosted by existing audiences from related TV shows, previous films, or online fan communities.
5) There is debate around whether the British film industry is a sustainable business or
This document discusses two New Zealand film funding initiatives - the Large Budget Screen Production Grant (LBSPG) and the Screen Production Incentive Fund (SPIF) - and how they were impacted by the financial success of The Lord of the Rings trilogy. The LBSPG aimed to attract large-scale international productions through rebates but was criticized for not supporting cultural representation in New Zealand films. It favored blockbuster productions that did not accurately portray New Zealand culture. While boosting the economy, these films promoted inaccurate versions of New Zealand identity abroad.
Ben Wheatley directed the 2011 film A Field in England, which follows a group of deserters who are forced to help an alchemist, O'Neil, search for treasure in an overgrown field during the English Civil War. While crossing a mushroom circle for food, the group descends into chaos, fighting, and paranoia as it becomes clear the treasure may not be gold. The film was produced by Claire Jones and Andy Starke through Rook Films and written by Wheatley and Amy Jump.
This document discusses a study of 200 Australian films released between 1999-2008. It finds that the proportion of adaptations released was relatively low at 19%, declining from previous decades. Adaptations tended to perform more consistently at the box office compared to original films, with a median earnings almost triple that of originals. The document argues that increasing the development of adaptations could help diversify slates and mitigate financial risk for the Australian film industry.
The document provides an analysis of the nature documentary genre codes, narrative events, representation, marketing, distribution, regulation, and audience profiling and responses in Blue Planet II. It examines the trustworthy narrator role of David Attenborough, the orchestral music and sound effects, and how the series highlights the complex filming processes to build audience trust. The document also discusses the extensive marketing campaign through trailers, newspaper coverage, and social media, as well as the global appeal and accessibility of the series through platforms like BBC and Netflix.
The document discusses FilmFour, a British film production company. It provides background on FilmFour, describing some of its successful and groundbreaking films from the 1980s-2000s like My Beautiful Laundrette, Trainspotting, and Four Weddings and a Funeral. The summary also notes that FilmFour faces challenges competing for cinema space with large Hollywood studios and lacks distribution clout.
This document provides information about the film "12 Years a Slave" including its awards, finances, production details, marketing strategies, reviews, and audiences. It received widespread critical acclaim and many awards including Academy Awards. It had a budget of $20 million and grossed $178 million worldwide. Marketing included posters, trailers on YouTube and social media, and endorsements from celebrities. Audiences viewed reviews on websites and YouTube channels. The document also compares it to the film "Guardians of the Galaxy" and discusses media convergence and online piracy in relation to film distribution.
The document discusses various topics related to the film industry including technological determinism, film festivals, the British film industry, and independent films. It explores the challenges facing the British film industry in competing with Hollywood films and surviving in its shadow. Options discussed for the British film industry include making more commercial films or adopting a model similar to Harry Potter for production, distribution, and exhibition. The relationship between film audiences and the industry is also examined.
This document discusses changes in media consumption and film production due to the rise of the internet and on-demand viewing. It notes that Hollywood is facing competition from online content and that people's attention spans are decreasing. As a result, modern feature films tend to be shorter than in the past. The document also discusses the potential for low-budget, independent filmmaking online and provides examples of successful short films and web series. Advertising is shifting from traditional TV spots to innovative online formats like interactive ads and viral videos.
Group 049 proposes a film called "The System" that merges the concepts of Dexter, about a man living a double life as a murderer, and The Disappearance of Alice Creed, about a wealthy man's daughter being kidnapped. The film would be about an ordinary man kidnapping and murdering wealthy teenagers. It would be produced by Isle of Man Film and CinemaNX and have a very low budget using only three actors, minimal sets and costumes. The target audience would be adults 18+ as it contains violent and complex themes. The film was screened at several film festivals in 2009-2010 and had an extensive social media campaign to engage its young target audience.
TBEX15 North America Fort Lauderdale Adriena DauntTBEX
The document discusses New Zealand Tourism's campaign to leverage The Hobbit film trilogy to increase tourism by showing that New Zealand is where the fantasy of Middle-earth is real. The campaign ran from 2012-2015 across 6 phases to promote New Zealand as a filming location for The Hobbit and engage fans through advertising, partnerships, trade promotion, media coverage, and social media. Evaluation found high awareness of the film-tourism connection and that 14% of visitors were motivated by The Hobbit films to visit New Zealand.
Films are produced and distributed to audiences through the film industry. There are several key aspects of production and distribution. In production, films are made using various stages from development through filming. Distribution involves delivering films to audiences through cinemas, home release, and digital methods. Different types of films target audiences in different ways, such as through production values for blockbusters or low budgets for independent films. The film industry aims to make the highest profits by reaching the largest possible audiences.
FIndings of an industry workshop into how to build cinema audiences. Commissioned by UK cinema body Cinema First. This research appears on leading media audience site www.sampomedia.com, which is gathering feedback from anyone interested in the field.
This document provides information on various case studies of films, including their production budgets, release dates, producers, distributors, and box office performance in the UK. It compares lower budget independent films like "The Angels Share" and "A Field in England" to larger blockbuster films like "Taken 2" and "Man of Steel." The independent films struggled at the UK box office due to limited distribution and screenings, but used alternative distribution methods like video-on-demand to find audiences. In contrast, the blockbuster films were hugely successful in theaters due to widespread distribution through major studios and large marketing campaigns. The document also provides context on trends in the UK film industry and changing technologies.
The document discusses the relationship between the film industry and audiences. It examines how the industry both creates meaning through film production and relies on audiences to interpret and process films in various ways. The industry aims to bring films to audiences to maximize success and profits, not just at the box office but through diverse distribution platforms. The relationship is dynamic, with the industry needing to listen to and respond to audiences while audiences also develop behaviors beyond the industry's control.
Weerada Sucharitkul (Co-founder of FilmDoo) at Digital Media Day 2016IDCEE
Weerada Sucharitkul, Co-founder of FilmDoo speaks about film distribution and what FilmDoo has to offer to filmmakers across the globe at Digital Media Day 2016 within the framework of the 7th Odessa International Film Festival.
https://www.linkedin.com/in/sucharitkul
https://www.filmdoo.com/about-us/
https://oiff.com.ua/en/index.htm
https://www.facebook.com/odessaiff/
https://www.facebook.com/TAVentures2010/
OCR MEDIA - G322 Section B Revision Guide ppttessiemedia
The document discusses the British film Trainspotting, describing it as a gritty and realistic portrayal of heroin addiction in Scotland that was both critically acclaimed and commercially successful. It explores themes of urban poverty and the dark side of drug culture while also being fascinating to audiences. While some accused it of glamorizing drug use, it was praised for its social realism in representing British youth subcultures of the time. The film was a hit in both Britain and the United States.
The document provides a history of the film industry from the early 20th century studio system to modern independent production models. It discusses how studios originally functioned like factories by owning all aspects of production and distribution. This system broke down due to antitrust laws which led to an era of independent production companies assembling for individual films. More recently, the industry has adapted to television and home video markets by making films more special experiences and selling catalog titles. Modern filmmaking is characterized by global distribution, product placements, franchises, and CGI effects to reduce risks and ensure profits.
The document provides information about FilmFour, a British film production company. It discusses some of FilmFour's most successful films like Trainspotting and Four Weddings and a Funeral. It also addresses issues like representing diversity in British cinema, competing with major Hollywood studios, and adapting to changes in film consumption and technology.
British film funding and fifth estate case studyKStockwell
The document discusses the British Film Industry and provides context on key organizations, funds, and tax incentives that support the industry. It also examines several successful British films like Harry Potter and The King's Speech that received backing from these national supports. Challenges facing British films like achieving profitability and appealing to international audiences are also addressed. Questions are posed about strategies to strengthen the industry and importance of British talent and internationally-known stars.
The document discusses several key aspects of the film industry:
1) Large film studios, called "conglomerates", can produce, distribute, and sell their own films, merchandise, games, and more through various subsidiaries.
2) When companies join together in the film industry, it is called a "studio system" or they may form independent production companies.
3) Films that are distributed across multiple platforms like cinema, TV, online, mobile etc. are experiencing "technological convergence".
4) The success of films can be boosted by existing audiences from related TV shows, previous films, or online fan communities.
5) There is debate around whether the British film industry is a sustainable business or
This document discusses two New Zealand film funding initiatives - the Large Budget Screen Production Grant (LBSPG) and the Screen Production Incentive Fund (SPIF) - and how they were impacted by the financial success of The Lord of the Rings trilogy. The LBSPG aimed to attract large-scale international productions through rebates but was criticized for not supporting cultural representation in New Zealand films. It favored blockbuster productions that did not accurately portray New Zealand culture. While boosting the economy, these films promoted inaccurate versions of New Zealand identity abroad.
Ben Wheatley directed the 2011 film A Field in England, which follows a group of deserters who are forced to help an alchemist, O'Neil, search for treasure in an overgrown field during the English Civil War. While crossing a mushroom circle for food, the group descends into chaos, fighting, and paranoia as it becomes clear the treasure may not be gold. The film was produced by Claire Jones and Andy Starke through Rook Films and written by Wheatley and Amy Jump.
This document discusses a study of 200 Australian films released between 1999-2008. It finds that the proportion of adaptations released was relatively low at 19%, declining from previous decades. Adaptations tended to perform more consistently at the box office compared to original films, with a median earnings almost triple that of originals. The document argues that increasing the development of adaptations could help diversify slates and mitigate financial risk for the Australian film industry.
The document provides an analysis of the nature documentary genre codes, narrative events, representation, marketing, distribution, regulation, and audience profiling and responses in Blue Planet II. It examines the trustworthy narrator role of David Attenborough, the orchestral music and sound effects, and how the series highlights the complex filming processes to build audience trust. The document also discusses the extensive marketing campaign through trailers, newspaper coverage, and social media, as well as the global appeal and accessibility of the series through platforms like BBC and Netflix.
The document discusses FilmFour, a British film production company. It provides background on FilmFour, describing some of its successful and groundbreaking films from the 1980s-2000s like My Beautiful Laundrette, Trainspotting, and Four Weddings and a Funeral. The summary also notes that FilmFour faces challenges competing for cinema space with large Hollywood studios and lacks distribution clout.
This document provides information about the film "12 Years a Slave" including its awards, finances, production details, marketing strategies, reviews, and audiences. It received widespread critical acclaim and many awards including Academy Awards. It had a budget of $20 million and grossed $178 million worldwide. Marketing included posters, trailers on YouTube and social media, and endorsements from celebrities. Audiences viewed reviews on websites and YouTube channels. The document also compares it to the film "Guardians of the Galaxy" and discusses media convergence and online piracy in relation to film distribution.
The document discusses various topics related to the film industry including technological determinism, film festivals, the British film industry, and independent films. It explores the challenges facing the British film industry in competing with Hollywood films and surviving in its shadow. Options discussed for the British film industry include making more commercial films or adopting a model similar to Harry Potter for production, distribution, and exhibition. The relationship between film audiences and the industry is also examined.
This document discusses changes in media consumption and film production due to the rise of the internet and on-demand viewing. It notes that Hollywood is facing competition from online content and that people's attention spans are decreasing. As a result, modern feature films tend to be shorter than in the past. The document also discusses the potential for low-budget, independent filmmaking online and provides examples of successful short films and web series. Advertising is shifting from traditional TV spots to innovative online formats like interactive ads and viral videos.
Group 049 proposes a film called "The System" that merges the concepts of Dexter, about a man living a double life as a murderer, and The Disappearance of Alice Creed, about a wealthy man's daughter being kidnapped. The film would be about an ordinary man kidnapping and murdering wealthy teenagers. It would be produced by Isle of Man Film and CinemaNX and have a very low budget using only three actors, minimal sets and costumes. The target audience would be adults 18+ as it contains violent and complex themes. The film was screened at several film festivals in 2009-2010 and had an extensive social media campaign to engage its young target audience.
TBEX15 North America Fort Lauderdale Adriena DauntTBEX
The document discusses New Zealand Tourism's campaign to leverage The Hobbit film trilogy to increase tourism by showing that New Zealand is where the fantasy of Middle-earth is real. The campaign ran from 2012-2015 across 6 phases to promote New Zealand as a filming location for The Hobbit and engage fans through advertising, partnerships, trade promotion, media coverage, and social media. Evaluation found high awareness of the film-tourism connection and that 14% of visitors were motivated by The Hobbit films to visit New Zealand.
Films are produced and distributed to audiences through the film industry. There are several key aspects of production and distribution. In production, films are made using various stages from development through filming. Distribution involves delivering films to audiences through cinemas, home release, and digital methods. Different types of films target audiences in different ways, such as through production values for blockbusters or low budgets for independent films. The film industry aims to make the highest profits by reaching the largest possible audiences.
FIndings of an industry workshop into how to build cinema audiences. Commissioned by UK cinema body Cinema First. This research appears on leading media audience site www.sampomedia.com, which is gathering feedback from anyone interested in the field.
This document provides information on various case studies of films, including their production budgets, release dates, producers, distributors, and box office performance in the UK. It compares lower budget independent films like "The Angels Share" and "A Field in England" to larger blockbuster films like "Taken 2" and "Man of Steel." The independent films struggled at the UK box office due to limited distribution and screenings, but used alternative distribution methods like video-on-demand to find audiences. In contrast, the blockbuster films were hugely successful in theaters due to widespread distribution through major studios and large marketing campaigns. The document also provides context on trends in the UK film industry and changing technologies.
Similar to Factual television trends: Illustrations of successful co-production (20)
Physiology and chemistry of skin and pigmentation, hairs, scalp, lips and nail, Cleansing cream, Lotions, Face powders, Face packs, Lipsticks, Bath products, soaps and baby product,
Preparation and standardization of the following : Tonic, Bleaches, Dentifrices and Mouth washes & Tooth Pastes, Cosmetics for Nails.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Factual television trends: Illustrations of successful co-production
1. Factual Television Trends
uang
Successful co-productions
Illustrations
@ Chengfei Sun (Jim)
@ Qing Shi (Julia)
@ Min Zhong
(Rachel)
@ Chen Su (Sue)
@ Mengju You
2. Co-productions
JIM JULIA
Background Example 1
information
DAISY
Difficulties
&
Conclusion
Sue RACHEL
Advantages Example 2
3. Co-productions Overview
International co-productions
Pool financial resources
Partner's market or to a third market
Cultural benefit
Designed location and cheaper input
4. Existing & Forthcoming
Factual television co-productions
Human Planet
The Blue Planet (2011)
(2001)
Frozen Planet
(2011)
Planet Earth
(2006)
History of The World
Wild China (2012)
(2008)
Life Series
7. Total running time 6 hours
Over 25 countries
Award-winning
Photography awards of nature history documentary
The best editing award
The best music award
8. “We want the Chinese to feel proud of their
countryside and wildlife, to care about it and to
seek to ensure its survival.
We also hope to redress the negative view of
China's environment propagated in western media.”
Series producer BBC - Phil Chapman
9. …WHY ?
Help BBC enter the Chinese documentary
market
Excellent opportunity for the world to know
the real china
10. Sources of Joint Funding
Entire investment:
£ 5 million ≈ 75 million RMB
BBC & CTV
50% & Over 10 million RMB
Some American and Japanese companies
The rest of funding
11. Expertise of partners
Experts with rich experience and strong
professional background
Executive producer Brian Leith, over 20 years
experience as a producer and director
12. Expertise of partners
British experts with excellent background of
biology
CTV established a professional research group to
assist BBC
The production crew were given unprecedented
access to almost all areas
13. Use of production facilities
Reduce costs in programming making
CTV offers many expensive & big size facilities
e.g. Aerial photograph equipment
No need to carry all of the facilities from UK
More convenient and reduce the costs
15. Nature Local
& Culture
wildlife
Niche Amazing
& Adventure
Hyperlocal & History
16.
17. Collaboration for the first time
May not have enough trust at the beginning
Trust was built step by step
More sophisticated filming techniques to reveal
behaviour rather than simply by observation in
the wild
Supports from local government and local
people
18. “" We have recommended this special
documentary to 560 buyers in the world, it has
been one of the documentaries with greatest
concern.”
Chairman of the BBC - John Smith
19. Marketing & Potential in sales
DVDs
Marketing strategies
Mass media, newsletters & Internet
Wild China merchandise
Books, albums, stamps, and calendars
21. “ It's one thing to have people watch, but to
achieve the kind of 'water-cooler results' we got,
both in the U.K. and then in America -- nothing
prepared us for that. ”
Executive producer - Alastair Fothergill (2008)
22.
23. Global Epic
Global view
11 Episodes
An exploration of
The wild and beautiful parts of our planet
10-minute of behind-the-scenes
25. 62 Countries
71 Camera crews
204 Locations
2,000 Days
Over a 5-year Period
(Television Week, 2008)
26. Sources of Joint Funding
Budget of £16 million
Co-financing
Discovery & NHK
60–70% of costs for HD format
BBC Worldwide
£7.4 million for Earth
27. Use of Joint Funding
Problems and difficulties
Filming on location
Interesting footage of rare animals
Difficult weather conditions
Working without adequate support
28. Use of Joint Funding
Problems and difficulties
Language and culture difference
Recruit local staffs
Production facilities
29. Use of production facilities
Developed lens and aerial cameras
Groundbreaking HD production techniques
Satellite imagery
Time-lapse effects
44. Advantages of co-production
“ The potential to explore globalization processes
Diversification and hybridization of cultures .”
(Murdock, 1996)
45. Advantages of co-production
“ Enhance collaboration between countries with
small production industries, which would be able to
pool resources and compete in an international
market.”
(Taylor, 1995)
46. Advantages of co-production
An opportunity to focus on a global public sphere
Fascinating insight into subjects of global appeal
Encourage debates globally
Create culturally specific materials for local
markets
47. Advantages of co-production
Increase the exposure and distribution of
films/drama/documentaries globally
A tool to finance high-quality products for
distribution in the global marketplace.
(Telefilm, 1999).
48. Difficulties in co-production
Differences in professional practices
Massive amount of paperwork that inevitably
accrues when two production companies
collaborate with another and their respective
governments.
(Kennedy, interview, June 22, 2000)
49. Difficulties in co-production
Difficulties in raising funding
Potential of loosing creative control over a project
due to making compromises in the treatment of a
script .
(Hoskins and McFadyen,1993) & (Adair, 2000)
50.
51. Recap & Conclusions
Co-productions are
Globalization and glocalization of the economy
and cultures
Affected by the expertise of partners
52. Recap & Conclusions
Co-productions are
Reasonable use of joint funding from production
companies
Advanced production facilities are one of the key
successful factors
53. Recap & Conclusions
Co-productions are
How factual programming has been able to
Take advantage of the
increasingly global nature of the media…
54. Recap & Conclusions
Co-productions are
Advantages
Win-win situation to co-production companies
Increase brand awareness
Reduce costs
Improve collaboration and relationship among countries
involved
55. Recap & Conclusions
Co-productions are
Difficulties
Limited by reduction in government funding
Large amount of paperwork is needed
56.
57. Trends & Suggestions
Co-productions
Young people
Niche Segments
“Real-life stories are hugely needed to be
engaged” (Danny Cohen, 2010)
58. Trends & Suggestions
Co-productions
“It is helpful if offering co-productions across a
variety of different platforms more flexibly and on-
demand. ”
(Alice Carder 2010)
59. IndieGoGo
“Crowd-funding” sites
Kickstarter
To raise money for projects instead of relying
on commissions .
(Kate Bulkley, 2010)
60. Future of co-productions
Factual television
Opportunities to view co-produced documentaries are
growing
Entertainment push further into the mainstream
Purist, non-narrative observational documentaries will
command smaller audiences
61. Future of co-productions
Factual television
Niche will no doubt continue
“ Television broadcast slots will remain only for
the best of the best, but that is fine in my view.”
(Andy Glynne, 2010)
63. Reference
• Appadurai, A. (1990). “Disjuncture and Differences in the Global Cultural Economy. In
M.Featherstone (Ed.)”, Global Culture. Nationalism, Globalization and Modernity, pp. 295-
310. London: Sage Publications.
• Baltruschat, D. (2002). “Globalization and International TV and Film Co-production: In
Search of New Narratives” [Online] Available at:
http://web.mit.edu/cms/Events/mit2/Abstracts/DorisBaltruschat.pdf (Accessed on 1 April
2011)
• Bigne, J. and Orlebar, J. (2005). The television handbook(3rd Ed.). London: Routledge.
(Accessed on 1 April 2011)
• Bulkley, K. (2010). “A focus on the future of documentaries” [Online] Available at:
http://www.guardian.co.uk/sheffield-doc-fest/the-future-of-documentaries. (Accessed on 1
April 2011)
• Bulkley, K. (2010). “Is crowd-funding the future for documentaries?” [Online] Available at:
http://www.guardian.co.uk/sheffield-doc-fest/funding-models-for-film-
making?INTCMP=ILCNETTXT3487 (Accessed on 1 April 2011)
• BBC Science & Nature, (2008), Wild China, Available at:
http://www.bbc.co.uk/sn/tvradio/programmes/wildchina/
• BBC 2, (2011), Programmes: Wild China, (Accessed on 30th, Mar, 2011).
http://www.bbc.co.uk/programmes/b00bv6lk
• China Expat, (2009), Wild China – a Must-
See Documentary, Available at http://www.chinaexpat.com/2009/01/16/wild-china-a-must-
see-documentary-2.html/. (Accessed on 30th, Mar, 2011)
64. Reference
• Guardian (2010). “The future of documentaries”. [Online] Available at:
http://www.guardian.co.uk/sheffield-doc-fest/issues-facing-documentaries. (Accessed on 1
April 2011)
• Maxwell, Gavin (May 2008). "Episode 5: Land of the Panda". BBC Wildlife 26 (5)
• Nicholson-Lord, D. (2006). “Planet Earth - the making of an epic series”. [Online] Available
at:
http://www.bbc.co.uk/pressoffice/bbcworldwide/worldwidestories/pressreleases/2006/03_
march/making_planet_earth.shtml. (Accessed on 1 April 2011)
• O'Regan, T. and Ward, S. (2006). “Experimenting with the Local and Transnational:
Television Drama Production on the Gold Coast." Continuum: Journal of Media & Cultural
Studies.
• Robinson, J. (2006). “BBC finds a treasure in Planet Earth”. Available at:
http://www.guardian.co.uk/media/2006/apr/09/business.broadcasting1. (Accessed on 1
April 2011)
• Sherwin, A. (2005). “BBC ready to lead viewers into a vivid new world of television”.
[Online] Available at: http://www.timesonline.co.uk/tol/news/uk/article756783.ece.
(Accessed on 30 March 2011)
• Slenske, M. (2007). “All Creatures Great, Small ... and Endangered”. [Online] Available at:
http://www.nytimes.com/2007/03/18/arts/television/18slen.html?_r=2&oref=slogin.
(Accessed on 30 March 2011)
• Stafford, Sophie (May 2008). "Editor's letter: China's wild treasures revealed". BBC
Wildlife 26 (5)
65. Factual Television Trends
Successful co-productions
Illustrations
@ Chengfei Sun (Jim)
@ Qing Shi (Julia)
@ Min Zhong (Rachel)
@ Chen Su (Sue)
@ Mengju You (Daisy)