Institutions and Audiences: British Film

Institutions and Audiences
The British Film Industry
AS Media Studies
Examination Section B

Learning Outcomes
Be able to…
• Explain the requirements of the unit and the 7
key focus areas.
• Explore the factors that influence whether a
film is considered to be ‘British’.

What can you remember…
We started this last June. Write down anything
you can remember from those sessions…

The Course
• Section B of the AS Examination
• 1 question
• 45 minutes to write your repsonse
• The question is based on 1 or 2 of 7 key focus
areas.
• Your answer will be supported by reference to
case studies (production companies and films)

What makes a Film British?
Have a look at the handout and note down any
questions you have…

Key Focus Areas:
• the issues raised by media ownership in contemporary media
practice;
• the importance of cross media convergence and synergy in
production, distribution and marketing;
• the technologies that have been introduced in recent years at the
levels of production, distribution, marketing and exchange;
• the significance of proliferation in hardware and content for
institutions and audiences;
• the importance of technological convergence for institutions and
audiences;
• the issues raised in the targeting of national and local audiences
(specifically, British) by international or global institutions;
• the ways in which the candidates’ own experiences of media
consumption illustrate wider patterns and trends of audience
behaviour.

British Film in the news…
All of these films are have been nominated for a
BAFTA or a Golden Globe award. But which ones
are British?
Gravity
Mandela: Long Walk To Freedom
Philomena
Rush
Saving Mr. Banks
The Selfish Giant

‘Best British Film 2014’
Read the handout and consider the following
questions:
1. Why do people find it controversial that films
like ‘Gravity’ are described as ‘British’?
2. What issues do these classifications have for
the British film industry? What are the
positives and the negatives?

Learning Outcomes
• Be able to explain where the money comes
from.
• Be able to describe the different stages of pre-
production.
• Be able to evaluate the position of British
Production Companies in relation to their
American rivals.

Recap: What makes a film British?

Finance: Where does the money come
from?
In order to be made, the film needs to attract investment. There has to be a package:
• A script treatment
• A generic profile
• A proposed budget
• A visualisation or storyboard
• Key personnel
• Potential spin-offs and merchandising.
Investment
• In order to get the ‘green light’ all funding for a film needs to be secured first.
• For some (UK) films this may be Lottery funding; for others it may be selling direct
to a studio.
• Obvious ‘above the line’ costs (actors, etc.) need to be calculated.
• Hidden ‘below the line’ costs (over-lengthy shooting, etc.) need to be considered.
• Once shot and cut the film will then have to be distributed.

Film Production
Production is broke down into 3 stages:
• Pre-production (preparation)
• Production (filming)
• Post-production (editing)

Pre-production
Make a list of the different stages of Pre-production…
• Choice of source material (original screenplay, novel,
videogame etc)
• Scripting
• Storyboarding
• Animatics
• Location scouting
• Casting
• Shooting schedule
• Budgeting

Production Companies – The Big 6

The Big Six
What advantages do Hollywood studios have over British ones?

British Production Companies
The British film industry has had a
turbulent history, from its cottage
industry origins in the 1890s to its
'golden age' in the 1940s, when
giants like Alexander Korda, Michael
Balcon and J. Arthur Rank ruled over
a thriving business, through
Hollywood investment in the
1960s, collapse in the 1970s and a
succession of rises and falls from
the 1980s to the present…

The UK Film Council
• Not a production company, but a vital source of
information, funding and support for films and
filmmakers.
• Funded by the Government and the National Lottery,
the UKFC supports the regional film agencies (such as
Screen Yorkshire and Film London).
• Since it’s creation in 2000, the UKFC has backed
more than 900 films, shorts and features,
entertained more than 200 million people and
helped to generate approximately £700 million at the
box-office worldwide.
• More will follow in a future lesson…

Task…
For each of the above companies, find…
– Year established / brief history
– Aims
– Parent companies (if relevant) H or V integration, public or
private?
– The titles of five recent films (2010/2011)
– Box office figures
– Market share (www.the-numbers.com)

Useful Websites
Summary of British Film
http://en.wikipedia.org/wiki/British_film
Close analysis of the production of Shifty
http://www.filmeducation.org/shifty/index.html
BFI Screen Online
http://www.screenonline.org.uk/film/index.html
Pathe
http://www.pathe.co.uk/
The Numbers (Box Office Figures)
http://www.the-numbers.com/
International Movie Database
http://www.imdb.com/

Production
Pre-production Production Post-production

Production
Pre-production Production Post-production
Choice of source material
(original screenplay, novel,
videogame etc)
Scripting
Storyboarding / Animatics
Location scouting
Casting
Shooting schedule
Budgeting
Filming! ?

British Film Facts and Figures…
Slumdog Millionaire
Budget: $15.1 million
Box Office: worldwide $377,417,293 (£31m UK)
Screens (opened 9th Jan 2009): 324 (379 by the 23rd, 449 by the 27th Feb)
In the Loop
Budget: £600,000 (Largely UKFC)
Box Office: worldwide $4.3m (£2.2m UK)
Screens (opened 17th April 2009): 104 (151 by the 24th)
Shifty
Budget: £100,000
Box Office (UK): £150,000
Screens (opened 24th April 2009): 51
Moon (BAFTA – Best British Indie Film)
Budget: $5 million
Box Office: worldwide $7,917,854 (£1.3m UK)
Screens (opened 17th July 2009): 57

Shifty – Case Study
As with almost all modern films, a number of
companies were involved in producing and
distributing ‘Shifty’. The main companies were:
BBC Films
UK Film Council
Film London: Microwave
Metrodome (distributor)
The Following slides will summarise the nature of the
companies. You will then research their roles in
bringing ‘Shifty’ to the market.

BBC Films
“BBC Films is the feature film-making arm of the BBC.
It is firmly established at the forefront of British
independent film-making and co-produces
approximately eight films a year. Working in
partnership with major international and UK
distributors, BBC Films aims to make strong British
films with range and ambition. We are committed to
finding and developing new talent, as well as
collaborating with some of the foremost writers and
directors in the industry.”

BBC – Co-Production Funding
“We secure third party financing for BBC Films
theatric films in the commercial market place and
public sector by sourcing equity, rights presales to
agents or distributors, bank gap, tax funds and
international co-production. We work together with
the independent producer, to create and execute a
finance strategy. We provide BBC Films with
marketplace knowledge about talent values and
information on sales and distribution results. The
team seeks to maximise the BBC's return on
investment and to achieve the maximum value-for-
money for the licence payer.”

UKFC / Film London / Microwave
• The UK Film Council is the government’s agency for
film financing and production in the UK.
• The distribute funds and expertise to the industry,
ensuring continued suucess for UK films both
domestically and internationally.
• The UKFC runs the regional screen agencies, which in
turn support film in different areas of the UK. An
example of a regional screen agency is Film London…

Film London and Microwave
• Film London has been granted over
£2.4 million by the UKFC (as of
January 2010).
• As with the UKFC, it is responsible for
promoting and supporting film in the
Capital, both in terms of funding and
resources (human and physical).
• Microwave is Film London’s ‘micro-
budget’ arm which promotes and
supports films operating on strict
running costs.

Metrodome
“Metrodome is an independent all-rights distributor, in
business for over 10 years. It acquires films and other product
for exploitation in cinemas, on DVD and via broadcast.
Metrodome has earned a reputation for acquiring and
releasing quality independent films that challenge our
audiences and provoke the critics - from box office smash hits
Monster and Donnie Darko to the Academy Award winning
The Counterfeiters, and Academy Award nominated Away
From Her, Days of Glory and Water. Metrodome continues to
engage an ever-expanding audience and provide distribution
for some of the most invigorating voices in modern cinema.”

Questions
Watch the clips and answer the following questions…
1. What did Metrodome find appealing about ‘Shifty’?
2. How does the Microwave scheme help?
3. What is the budget for films made through Microwave?
4. How do the BBC support the film production and distribution?
5. How was the film marketed?
6. How did the film attempt to reach it’s target audience?
7. Does the production of ‘Shifty’ rely on a vertically or horizontally
integrated industry model? Explain.
8. Are the companies involved public or private? Explain.
9. What options are available for the consumption of ‘Shifty’? For each
option, briefly explain the technology that would be necessary.
10. Synergy involves companies, industries and technologies working
together to increase the performance or impact of a product. What
synergy is evident in the production of ‘Shifty’?

Homework and Folders…
Homework ‘Yes’…
Chloe
Isabel
Holly
Ryan
Oliver
James
Rhiannon
Terri
Liam
Homework ‘No’
Ben
Chris
Jack
Louis
Lauren
Jordan
Callum

Hollywood vs. The UK
In the UK, vertical
integration does not operate
so commonly. Producers
tend not to have long-term
economic links with
distributors, who likewise
have no formal connections
with exhibitors. This is
known as ‘horizontal
integration’.
In the practice of Hollywood
and other forms of industrial
cinema, the phases of
production, distribution and
exhibition operate most
effectively when 'vertically
integrated', where the three
stages are seen as part of
the same larger process,
under the control of one
company.

Horizontal and Vertical Integration
Production Production Production
Distribution Distribution Distribution
Exhibition Exhibition Exhibition

EG: Warner Bros (US)

EG: BBC Films (UK)

The Different Stages of Distribution…

The Different Stages of Distribution…
Distributor
acquires rights to
manage the
release of a film
(contract).
Distributor
develops a
release strategy
(when and
where).
Distributor
presents the film
to exhibitors
(negotiates for
screens).
Marketing
campaign aims to
create a ‘buzz’
amongst the
audience…
…before ensuring
people ‘definitely
want to see it’.
Film prints
(featuring the
BBFC) are
‘delivered’ to
cinemas.
Film’s run
extends any
number of weeks
subject to
demand.
The film is then
released in other
formats.

Marketing
How do distributors create
a ‘Buzz’?
How is this developed to
ensure that the audience
‘wants to see’ the film?

Other formats…
Following the cinema release, what other
formats can the distributor exploit?

Case Study: Bullet Boy
Read the case study and consider the following:
How was the distribution of
Bullet Boy planned in order
to maximise revenue?

You are the Distributor…
Your team represent a leading
distribution company, seeking to
secure the rights for one of the
following upcoming films:
‘Robocop’
‘The Lego Movie’
‘300: Rise of an Empire’
Working together, you need to
create a pitch to persuade the film’s
producers that your company is the
best one to handle the distribution
of the movie.

Groups…
Liam Carter
Jordan Cleaver
Lauren Chadwick
Chloe Taylor
Louis Chadwick
Isabel Redding
Terry Yoxall
Holly Savage
Rhiannon Wayman
Ryan Scragg
Jack Eardley
Ben Simpson
Callum Morgan
James Stephenson
Chris Nixon
Oliver Marks

Your Pitch…
• Use your ‘Different Stages of Film
Distribution’ resource to ensure you
plan an effective Release Strategy and
Marketing and Merchandising
Campaign.
• You’ll need to research the film to
ensure that you are targeting the
correct audience.
• Pitches should last for up to 5 minutes
and will be delivered tomorrow.
• Prizes will be awarded to the winning
team.

‘A Field in England’
Read the hand-out (both sides) and answer the
following questions:
1. Summarise (in bullet points) the release
strategy for this film.
2. Why did the producers and distributors of
the film choose to follow this release
strategy?

Certification and Targeting an
Audience
Y12 Media Studies
British Film

Learning Outcomes
• Be able to explain the role of the BBFC and
how they classify films
• Know how and why film producers /
distributors target specific audiences.

Starter
• Write down the last five films you have seen.
• Write down the certificate of each film (if you
don’t know, make an educated guess).
• Write down why you think the film was given
that certificate.
• Do you agree with the certificates? Why?

The BBFC
• The British Board of
Film Classification.
• What is their role?

“The British Board of Film Classification is an
independent, non-governmental body, which has
classified cinema films since it was set up in 1912,
and videos since the passing of the Video Recordings
Act in 1984.”

Rate a Trailer!
• All the trailers here were passed at U, PG or 12A - though
many are for films which received a higher category in the
end
• Each trailer has a brief introduction which tells you how
much examiner's knew about a film before they saw the
trailer - remember, some films are already famous before
they've been released (especially sequels and franchises)
• Remember to look out for key classification issues like sex,
violence and language
• Don't forget to take into account the tone of the trailer and
how it makes you feel
• Keep in mind that trailers come to an audience unbidden.

Theme
Mature themes are acceptable, but their treatment must be suitable for young teenagers.
Language
The use of strong language (eg 'fuck') must be infrequent. Racist abuse is also of particular
concern.
Nudity
Nudity is allowed, but in a sexual context must be brief and discreet.
Sex
Sexual activity may be implied. Sex references may reflect what is likely to be familiar to most
adolescents but should not go beyond what is suitable for them.
Violence
Violence must not dwell on detail. There should be no emphasis on injuries or blood. Sexual
violence may only be implied or briefly and discreetly indicated.
Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on
imitable detail or appear pain or harm free. Easily accessible weapons should not be
glamorised.
Horror
Sustained moderate threat and menace are permitted. Occasional gory moments only.
Drugs
Any misuse of drugs must be infrequent and should not be glamorised or instructional.

Theme
No theme is prohibited, provided the treatment is appropriate to 15 year olds.
Language
There may be frequent use of strong language (eg 'fuck'). But the strongest terms (eg 'cunt')
will be acceptable only where justified by the context. Continued aggressive use of the
strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints
on nudity in a non-sexual or educational context.
Sex
Sexual activity may be portrayed but without strong detail. There may be strong verbal
references to sexual behaviour.
Violence
Violence may be strong but may not dwell on the infliction of pain or injury. Scenes of sexual
violence must be discreet and brief.
Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on
imitable detail. Easily accessible weapons should not be glamorised.
Horror
Strong threat and menace are permitted. The strongest gory images are unlikely to be
acceptable.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug
misuse.

In line with the consistent findings of the BBFC's public consultations, at
'18' the BBFC's guideline concerns will not normally override the wish that
adults should be free to chose their own entertainment, within the law.
Exceptions are most likely in the following areas:
• where material or treatment appears to the Board to risk harm to
individuals or, through their behaviour, to society – e.g. any detailed
portrayal of violent or dangerous acts, or of illegal drug use, which is likely
to promote the activity. The Board may also intervene with portrayals of
sexual violence which might, e.g. eroticise or endorse sexual assault.
• the more explicit images of sexual activity – unless they can be
exceptionally justified by context and the work is not a 'sex work' as
defined below. In the case of videos and DVDs, which may be more
accessible to younger viewers, intervention may be more frequent. For the
same reason, and because of the different way in which they are
experienced, the Board may take a more precautionary approach in the
case of those digital games which are covered by the Video Recordings
Act.

PG13
Vigilance on issues of harm and age appropriateness is also evident
in the Board’s treatment of a number of blockbuster Hollywood
cinema films which had received a PG-13 classification (cautioning
parents but allowing unrestricted access for children of any age ) in
the USA. Cloverfield, Disturbia and I Am Legend all featured
extended periods of intense violent threat and moments of horror
which the Board’s large consultation exercises suggest go beyond
what most members of the UK public would consider appropriate
for children younger than fifteen. In each case, the Board’s own
judgement was that the films were likely to be disturbing to many
younger children – a judgement tested and confirmed by the
Advisory Panel on Children’s Viewing in respect of I Am Legend, and
by the Consultative Council in respect of Disturbia. In each case, the
distributor request for a ‘12A’ classification was refused and the
films were all classified ‘15’.

Senior MPs have criticised the British Board of Film Classification's
decision to allow young children to see the new Batman film, The Dark
Knight.
In a letter in the Times today, Iain Duncan Smith, the former Conservative
leader, said he was "astonished" that the BBFC did not give the film a 15
certificate, which would stop children under the age of 15 from viewing it.
Keith Vaz, the Labour chairman of the home affairs committee, has also
said that the film should have been a 15. Instead the BBFC made it a
12A, meaning that children under the age of 12 can see it if accompanied
by an adult.
Duncan Smith decided to speak out after taking his 15-year-old daughter
to see the film, starring Christian Bale and Heath Ledger, at the weekend.
"Unlike past Batman films where the villains were somewhat surreal and
comical figures, Heath Ledger's Joker is a brilliantly acted but very credible
psychopathic killer, who extols the use of knives to kill and disfigure his
victims, during a reign of urban terrorism, laced with torture," Duncan
Smith wrote.
"It is a relentlessly violent film, filled with dark themes, and as I left I
wondered what the board could possibly have been thinking. There is no
way that a parent could have been guided by the classification and
realised what they were about to see."
Duncan Smith said he enjoyed the film and thought it was well-made. But
he thought the BBFC had "caved in to commercial pressures".

This is England
From the opposite view point, we received a number of
requests for our classification decisions to be lowered. Shane
Meadows’ powerful anti-racist drama, This is
England, prompted eight impassioned calls for the
‘18’, awarded to it for its combination of very strong, racially
abusive language and racially motivated violence, to be
reduced to ‘15’. All believed the film to be of significant
educational value in tackling racism, and argued that
teenagers should be able to see the film.

Targeting
• Why do films target specific audiences?
– Generate maximum revenue (it’s no good having a film
with a teenage subject matter and an 18 certificate).
– Appeal to the biggest audience possible.
• How do they do it?
– Themes and issues that are raised (eg youth pictures, black
and Asian identities).
– Methods of advertising and marketing (place and type).
– The certificate they ‘intend’ to gain.

Past Question
Discuss the issues raised by an institution’s
need to target specific audiences within the
British film industry.
British film in general…
Working Title…
Certificates…
Gender…
Age…
Nationality
Regionality
Why do they need to do it?
To make sure it is in the right
number of cinemas in the right
areas…to make money…to
generate interest…

How do films target their audience?
Production
– Cast
– Source
– Location
– Director
Distribution
– Advertising
• Trailers, posters, websites...
– Marketing
• Spin-offs such as sound tracks, games, action figures...
Exhibition
– Where it is shown
– When it is shown
– How it is shown

How do films target audiences according
to…
• Certificates
• Gender
• Age
• Nationality
• Regionality
• Ethnicity
Give examples of British
films and studios in
your responses!

To start you off…
There are a number of issues raised by an institution’s need to target a
specific audience. The ultimate aim of most films is to make a profit whilst
enhancing the reputation of those involved. In this sense, the main issue for
an institution is ensuring that it appeals to as many people from it’s target
audience as possible.
This process begins with production. The source material for a film, whether
it be a book, a game, or an original screenplay, often has an existing fanbase.
This provides an existing audience for the Production Company and
Distributor to build upon. A good example of this can be seen in the Harry
Potter films (produced and distributed by Warner Brothers), where the
popular novels ensured an interested audience, and also in Slumdog
Millionaire, co-produced by FilmFour, where the popular TV show helped
audiences to establish an idea about the plot of the film.
Director and stars – Bullet Boy, This is England, A Field in England
Distribution…

Some Keywords…
Synergy Convergence Proliferation
Two or more things
working together to have a
greater impact overall.
EG – Production companies
working together to create
a better product (film).
EG – Different types of
advertising working
together to reach a larger
audience.
Technological
convergence is the
tendency for different
technological systems to
evolve toward performing
similar tasks (EG - PS4)
Cross-media convergence
occurs when a product is
distributed through various
media (EG – Guardian)
The rapid increase of
something.
EG – Media technology
EG – Popularity of a film

MOON
Y12 Media Studies
The British Film Industry

Feedback on essays...
• Overall, not bad.
• Strongest on production and distribution,
weaker on exhibition.
• Tendency to ‘list’ the different factors that
affect audience, rather than linking them
together.
• Some technical language used, not enough in
some cases.
• Grades can be given when MS is available.

Genre? Target Audience? British?

Budget and Box Office
Budget: $5 million
(Although this may sound a lot, it really isn’t!)
Box Office: worldwide $7,917,854 (£1.3m UK)
(Very good considering it was originally going straight to
DVD!)

Awards
BAFTA Awards 2010
Alexander Korda Award for Best British Film - nominated
Carl Foreman award for special achievement by a British director, writer or
producer in their first feature film - won
British Independent Film Awards 2009
Best British Independent Film - won
Douglas Hickox Award for Duncan Jones - won
Best Actor for Sam Rockwell - nominated
Best Director for Duncan Jones - nominated
Best Screenplay for Nathan Parker - nominated
Technical Achievement, Original Score for Clint Mansell - nominated
Technical Achievement, Production Designll for Tony Noble - nominated
Fantastic'Arts 2010
Special Prize - won
Critics' Prize - won

Critical Reception
89% Fresh Rating –
8.0 / 10 – IMDB
“one of the best performances of the year” –
Empire Magazine

Production
• Directed by Duncan Jones (aka
Zowie Bowie), UK.
• Production Company: Liberty
Films (UK, independent)
• In association with Stage 6
Films.
• Shot in 33 days.
• Shepperton Studios (UK)
Stage 6 Films is a label
created by Sony Pictures
Worldwide Acquisitions
Group that
acquires, produces and
distributes 10-15 low
budget (capped at
approximately $10 million)
films and direct-to-DVD
releases per year.
SYNERGY!!!

Production - Cinesite (Visual Effects, UK)
– Hunt says he turns down a lot of producers looking for free
vfx in return for a stake in their films. But he is open to
exploring cut-price deals on interesting indie projects, such
as sci-fi drama “Moon”, the feature directing debut of
David Bowie's son Duncan Jones.
– "We're not doing it for the money, but because the script
was good," Hunt says. "'Moon' is a great example of us
helping a U.K. producer to use vfx for the right reasons, to
open up their film”

Distribution
Sony Pictures Worldwide Acquisitions Group acquired distribution rights to
the film for English-speaking territories. Sony was considering to send
Moon to go straight-to-video; but after Moon premiered at the 2009
Sundance Film Festival in January 2009, Sony Pictures Classics decided to
handle this film's theatrical release for Sony Pictures Worldwide
Acquisitions Group.
Sony Pictures Classics distributed the film in the United States theatrically,
beginning with screenings in selected theatres in New York and Los
Angeles on 12 June.
Certified 15
Independent Film Co (UK) secured the rights for all other territories.

Exhibition
• Opened on 57 screens (17th July
2009)
• The film's British premiere was held
on 20 June 2009 at the Cameo
Cinema in Edinburgh as part of the
63rd Edinburgh International Film
Festival
• Released on both DVD and Blu-ray.
• + OD, downloads, itunes, etc…
What does this tell
About the film’s
Target audience?

Questions…
1. Who is the Target Audience for
this film? How do you know?
2. How is the production of this film
an example of Synergy at work?
3. Explain how Technological
Convergence and Proliferation had
an impact on the
production, distribution and
exhibition of this film.
Consider niche or
mass market,
screens, premiere,
release date etc…

BAFTAs 2014
What was controversial about this year’s awards?
How could we use this in an essay?

Issues of
Technology
British Film

Learning Outcomes
• Know how technology affects the ways in
which you consume films.
• Be able to explain the impact of new
technology on the film industry.

Three Keywords...
• Synergy
– Synchronised Energy! Institutions, products or
technology working together to have a bigger impact.
• Proliferation
– To proliferate = to grow or spread. For example the
spread of technology as it becomes cheaper, or the
spread of knowledge, such as viral marketing.
• Convergence
– To converge – to merge / link together. An example of
technological convergence could be an Iphone or
Xbox, allowing media to be consumed in a variety of
ways.

Film Technology - Starter
• Write down all the technology that you use to
watch films.
• Compare this to the people sitting on your
table. Are there differences? Why?
• Now consider, and note down, how your
viewing habits have changed in the last five
years.

Handout
• Read and highlight the ‘Issues of Technology’
handout from your booklet.
• Use the information from the sheet, along
with your own knowledge and opinions, to
answer the following questions…

Questions
1. CGI enables filmmakers to visually enhance their films. What other benefits does it
have for production?
2. How can the internet be used by film companies to enhance the success of their
film?
3. What could the film industry do to combat illegal film downloads?
4. What technology issues are helping directors (like yourselves) to make films?
5. DVDs offer improved sound and picture quality over tape. What other advantages
can they have for viewers?
6. To what extent are special editions and director’s cut DVDs merely a marketing
ploy by the film industry to make more money?
7. Cinema going is still seen as an ‘experience’. If that is the case, why hasn’t the
IMAX experience with its bigger screens, sharper pictures and clearer sounds taken
over from standard cinemas?
8. To what degree do you see the advent of home cinema, with large-screen
televisions, home projectors and surround sound, threatening the profits of
multiplexes?
9. How has the video games industry, with its advances in technology like Blu-Ray
and HD-DVD, affected the way we watch films in our own homes?
10. What benefits do synergy-rich media conglomerates have when
producing, distributing, marketing and exhibiting their films?

Technology: Pros and Cons
Advantages Disadvantages
Production
Distribution
Exhibition
Try to think of films
to support your
points…

The Question…
With reference to case study examples from
the industry that you have studied, discuss the
impact of new technologies that have been
introduced in recent years at the levels of
production, distribution and exhibition.
1 hour – 50 marks

Technology: Case Studies
Production
• Proliferation
– Slumdog Millionaire – FilmFour – the cameras used in Mumbai were small yet high quality to allow
realistic scenes to be shot in a difficult location.
– Affordable technology for British indie projects (eg Shifty (Film London / BBC)) making micro-budget
films a possibility.
• CGI – Moon (Cinesite) – example of synergy and proliferation. Simple, cheaper technology makes access to
CGI a possibility for lower-budget films.
Distribution
• Digital Distribution
– DSN – UK Film Council – This is England (FilmFour / Warp Films)
– Blanket Release = less piracy
– No prints = Lower environmental impact
Exhibition
• 3D
– Hollywood – Avatar (20th Century Fox). Contrast to British Film Industry.
– UK – Streetdance 3D (BBC) – proliferation of 3D technology.
• Internet and web 2.0 – enabling amateur filmmakers and indie projects to exhibit films.
• Games consoles – Blu-ray and dvd, Zune, rentals, downloads (example of synergy)
• Other points could include:
– On Demand
– Downloads
– Streaming
– DVD and Blu-ray
These all offer increased access for
audiences and (potentially) increased
profits for institutions.
Option – compare and contrast two films throughout the essay

The Question
With reference to case study examples from
the industry that you have studied, discuss the
significance of proliferation of hardware and
content for institutions and audiences.
1 hour – 50 marks

Manchester’s Independent
Cinema
Exhibition case study

About “Cornerhouse”
Cornerhouse is Manchester's international centre for
contemporary visual arts and film.
Located in the heart of the city and open seven days
a week, they have 3 floors of contemporary art
galleries, 3 screens showing the best of independent
cinema, a bar, café and 2 bookshops.
Cornerhouse's patrons are: Danny Boyle, Damien
Hirst and Helen Mirren.

Stoke Film Theatre
Established in 1974, the Film
Theatre ensures that a wider variety
of films are shown in Stoke-on-
Trent. Our program contains a wide
range of independent, foreign
(often subtitled) and more
mainstream releases. The emphasis
is on films which have either not
been shown or have received a very
limited release at the local multiplex
cinemas.

Task…
1. Have a look at the current schedules for an independent
cinema (Stoke Film Theatre, Cornerhouse, etc).
2. Compare this to the listings of a local Multiplex
(Vue, Odeon).
3. Comment on the number of independent / non-mainstream
films on show in each location. Also consider the genre and
target audience of the films shown.
4. What does this tell you about multiplex cinemas?
5. Why is it important to have independent exhibitors?

The Question…
Discuss the ways in which media product(s) are
produced and distributed to audiences within a media
area, which you have studied.
Consider:
How films are produced and
distributed in order to target specific
audiences
The impact that technology has had in
helping films to reach their audiences

Assessment feedback…
Good times…
• Some pupils managed to follow the points
suggested in previous lessons
• Some effective use of case studies
• Some relevant terminology
Bad times…
• Lack of effort in some cases?
• Not enough case studies – ‘Moon’, ‘Bullet Boy’, ‘A
Field in England’ would have enabled full marks.

Synergy in the British Film Industry
A Definition:
• Synergy (from the Greek syn-ergos, συνεργός meaning
working together) is the term used to describe a situation
where different entities cooperate advantageously for a final
outcome. Simply defined, it means that the whole is greater
than the sum of its parts.
• It’s the ‘strategy of synchronising and actively forging
connections between directly related areas of entertainment’.
• New Technologies support this process – web, blu-
ray, downloads... Media institutions exploit various platforms
to sell various products related to one film (e.g. film and
soundtrack and video game).

An example of synergy from Disney
CD
Game
DVD
Outlets

An example of synergy from Working Title Films….
DVD
Sound Track

Convergence
Cross Media Convergence…
…is the way that different products
are produced and distributed on
different platforms.
For example The Guardian used to
be a purely paper-based media
product. Now it's produced and
distributed on iphone and ipad apps,
the website…
Cross-media convergence also
applies to marketing strategies
whereby products are marketed
using print, web, film and TV-based
platforms.
Technological Convergence…
…is the process by which a range of
media platforms are integrated
within a single piece of media
technology.
For example the new X Box One is a
games console, a Blu-Ray player, a
web browser…
Media institutions recognise that
audiences want to consume media in
a variety of different ways .

Vivendi SA
• Working Title films is owned by
Universal films.
• Universal films is part of Vivendi
Universal.
• It also owns major phone
companies in many countries.
• It also owns 60 publishing houses
selling 80 million books a year.

• Vivendi Universal own Cineplex and
Odeon cinema chains, as well as
mp3.com.
• Owns Canal+ (French TV subscription
channel) which has 14 million
subscribers in 11 countries in Europe.
Canal+ part finance Working Title
Films productions.
• Owns Universal records. (22% share
of global market across 63 countries).
Vivendi SA

• Can produce their own TV shows and
films at Universal Studios.
• Have exclusive distribution rights of
Working Title films and soundtracks.
• Can distribute, market and exhibit
films they own through their own 13
cable channels, eg Chiller channel for
horror films, Movies 24 in UK and
Canal+ in Europe.
• They can distribute their content
through their partnership with Apple
via i-tunes.
Vivendi SA

MP3.com
• Vivendi Universal own MP3.com
• They can use this as a platform to distribute Universal owned
content
• They can also use the MP3.com as a platform for advertising
content and can sell advertising space to other related
companies eg CBS have links to their film sites
• Therefore the company benefit from audiences owning
converged technology such as a video-ipod as this is where
they will download and exhibit their content

Have integrated film, music, web and distribution technology
into the company, including owning big stakes in cables and
wires that deliver these services.
Therefore they are vertically integrated because they own all the
different companies involved in film, from production to
distribution to exhibition.
They are also horizontally integrated because they have all the
expertise for producing media content under one roof – films,
tv, magazines, books, music, games thus being able to
produce all the related media content for one film under the
same roof (see synergy).
Vivendi SA

The Question…
With reference to the industry and institutions
that you have studied, consider the impact of
cross media convergence and synergy in
production, distribution and exhibition.
50 marks

Convergence and Synergy
Impact of CMC or S Examples Keywords
Prod.
Dist.
Exhib.
to support your
points…

Convergence and Synergy
Impact of CMC or S Examples Keywords
Prod.
S – production
companies working
together to create
effective products.
Moon – Liberty Films,
Cinesite, Stage 6. Worked
together to produce an
effective sci-fi film on a
budget…
Synergy
Convergence
Prolifieration
Release Strategy
Advertising
Marketing
Niche
Mass
Digital distribution
+ different ways of
watching films…
Dist.
S – combination of
strategies used in
advertising and
marketing.
CMC – range of
media utilised to
promote film.
Bullet Boy – Festival
release (= hype); TV,
radio and online
promotion. Soundtrack
as spin-off.
Exhib.
CMC – films released
on a variety of media
platforms.
A Field in England –
synchronised release on
all platforms. Wide range
of options for a potential
audience.
to support your
points…

Ownership and The Film Industry

Key Words – which key ownership
terms are defined below?
Two or more types of media coming
together.
Different elements of a company working
together to promote related products.
The process by which an increasingly
smaller number of companies own most
media outlets.
A company which produces two or more
types of media.
A large parent company which owns a
range of smaller companies.
Smaller companies owned by a parent
company.
When the market is dominated by a small
number of companies.

Key Words – which key ownership
terms are defined below?
Convergence Two or more types of media coming
together.
Synergy Different elements of a company working
together to promote related products.
Concentration of media ownership The process by which an increasingly
smaller number of companies own most
media outlets.
Cross-media ownership When a company which produces two or
more types of media.
Conglomerate A large parent company which owns a
range of smaller companies.
Subsidiary Smaller companies owned by a parent
company.
Oligopoly When the market is dominated by a small
number of companies.

What is media ownership?
All “media” whether it is film, music, or
print is owned by a company.
They hold the “rights” to publish,
distribute and manipulate their work.
For example: Warner Bros own DC
Comics and therefore own the “rights”
to all of the characters in the “DC
universe”

Key Issues
For a question on “issues raised by media
ownership” you will primarily write about the
following key areas:
• Piracy
• The dominance of Hollywood over the
industry
• The destruction of the UK Film Council

Piracy
• Piracy – the illegal distribution of media without
the permission of its owner. E.g. Downloading,
Pirate DVDs
• Advances in digital technology (see digital
cinema notes) have made piracy easier, cheaper
and has improved the quality of the content.
• Electronic files can be leaked in advance of a
films release.
• The internet allows pirate material to be
distributed all over the world very quickly

Piracy
• Digital cameras and sound equipment used in
cinemas to record pirate copies of a film have
improved greatly in quality
• This technology is now far cheaper and easier
to use.

Combating Piracy
• Digital technology has allowed films to be released
simultaneously across the world. Previously the delay in
films reaching the UK from America meant that piracy
was a more popular option.
• Digital encryption means that films can be securely
distributed.
• The rise in digital film production and exhibition has
paved the way for 3D cinema.
• 3D cinema is currently more difficult to “pirate”.
• It can not be filmed effectively in cinemas.
• The cost of watching good quality 3D material at home
currently means mass audiences aren’t yet interested.

The American Film Industry
The American film industry is dominated by
The Big Six film studios.
Can you name them?
• Warner Brothers
• Paramount
• 20th Century Fox
• Walt Disney Pictures
• Columbia Pictures
• Universal Pictures
What is the
combined North
American market
share of the Big Six?
90%

Who Owns the Big Six?
Warner Bros.
Time Warner (world’s 2nd largest media
conglomerate)
Paramount
Viacom (4th largest media conglomerate)
20th Century Fox
News Corp (3rd largest media conglomerate)

Who Owns the Big Six?
Walt Disney Pictures
The Walt Disney Company (world’s largest media
conglomerate)
Columbia Pictures
Sony Corporation (5th largest media conglomerate)
Universal Pictures
GE (2nd largest company in the world) and Comcast
(largest telecommunications company in the US)

Ownership and the American Film
Industry
The American film industry is dominated by 6 major studios, each of
which are subsidiaries of major media conglomerates.
The American film industry makes more money from international
revenue ($30 billion) than domestic revenue ($10 billion).
What are the implications of this ownership structure?
• Concentration of media ownership (bias, stealth marketing)
• Ability to take bigger risks – bigger budgets – spectacle
• Synergy
• Limited choice in cinemas
• Endless sequels
• Poor quality films
• A dying British industry

Films helped by the Film Council
Vera Drake, The Last King of Scotland, My
Summer of Love, Bend it Like Beckham, Fish
Tank, Adulthood, London to Brighton, Nowhere
Boy, How to loose friends and Alienate
People, This Is England, Happy-Go-Lucky
For everyone £1 of lottery money
invested, British films are reckoned to generate
£5 at the box office.

UK Film Council axed!
• The UK Film Council is essential to film-making in
the UK. Put simply, if it wasn’t for the UK Film
Council, many projects (films) wouldn't exist
• Along with BBC Films and Film4, the Film Council
is the main port of call for film makers trying to
get feature films off the ground, especially if
those films are outside the mainstream.
• In 2010 the government announced that the
scheme was going to be axed…

The King’s Speech
• Would not have been possible without
the support of the UK Film Council. Both
Film 4 and the BBC turned it down.
• Head of the UK Film Council's Film Fund,
said "The rise of The King's Speech from
a British independent film to a
worldwide commercial and critical
phenomenon is a huge testament to the
creators…It's a magnificent final chapter
for the UK Film Council”.
• The film won 4 Oscars, including Best
Picture.

FACT FILE: THE KING’S SPEECH
• Directed by Tom Hooper
• Released 2010
• Starring Colin Firth, Helena Bonham Carter,
Derek Jacobi, Geoffrey Rush
• Budget: £10,000,000
• The Weinstein Company, Alliance Films,
Paramount Pictures

CRITICAL SUCCESS
• Nominated for seven Golden Globes
• Nominated for fourteen BAFTAs
• Nominated for twelve Academy Awards
• Won four Oscars for, Best Picture, Best
Director, Best Actor and Best Original
Screenplay

FINANCIAL SUCCESS
• In the UK it took £3,510,000 from 395 cinemas
on the opening weekend.
• In the US it made $355,450 in four screens,
• It was then widened into 700 screens and then
1,543
• The film has made $40 million in profit from the
theatrical release alone.
• Compare these figure to those of Shifty

FINANCIAL SUCCESS: SHIFTY
• Opening weekend 51 prints – took
£61,000
• After 3 weeks down to 12 prints after
taking over £131,000
• Final box office - £143,000

Film and Britain
• The film market in Britain is dominated by
American products.
• American produced films account for 75%
of the total UK box office.
• 18 of the top 20 most successful films at
the British box office were produced by
the Big Six studios.
• http://www.ukfilmcouncil.org.uk/media/
pdf/1/6/The_UK_box_office_in_2010_fin
al_version_20Jan11.pdf

Ownership and Globalisation
One effect of the concentration of media
ownership is that the global media market
is increasingly dominated by a small
number of Western (mostly American)
conglomerates.
Do you think this is a positive or a negative?

Sample Question
Discuss the issues raised by media ownership in
contemporary media practice within a media
industry which you have studied.
The main issues you will focus on are:
• Piracy
• Hollywood’s Dominance
• The loss of the UK Film Council

• Discuss the issues raised by media
ownership within a media area you have
studied.
– Relevant to the question
– Accurate factual knowledge
– Specific examples
– Terminology
– Personal experience

Essay Structure
Introduction – state your focus, argument, and
case studies.
Media Ownership – general overview of key
issues relating to the film industry
American film industry – using _____to support
points you make explain implications of
ownership on institutions and audiences
British film industry – contrast British film
industry using examples such as _________
Conclusion – sum up your argument, relate to
your own personal experience as a consumer

Public vs. Private (vs. Independent!)
Funding – guaranteed from the licence fee
And Government
Answerable to the BBC
Trust and licence payers
Only answerable to
the shareholders
Able to form
partnerships with
other companies
(synergy, HV)
Not able to work in all genres?
Can use their
existing brands and
media outlets to
promote, exhibit etc

Ownership
Issue Examples Keywords
Piracy
US
UK
Consider production,
distribution and exhibition…

A Case Study: Watchmen
An extra example that could be used in the exam
UNDERSTANDING FILM RIGHTS

Film Rights
• When an existing story (book, play, comic) is made into a
film the “rights” have to be bought from the author – the
product is their “intellectual property”
• E.g. Warner Brothers bought the rights to make the first
4 Harry Potter for £ 1 million. (They bought the
remaining 3 when the first had been a success.)
• Film makes may “option” a script – meaning they only
pay 10% of the fee and then pay the full amount if the
project is “green lit” ( goes into production) .
• There is normally a time limit on an “option” – usual two
or three years. If the film isn’t made in this time the
rights can be re-sold.

Film Rights…
• Establishing who has
the “rights” to make
a film offer results in
long legal battles and
the delay of a film being
made.
• Case Study: Watchmen

Watchmen
• There have been numerous attempts to make a film
version of Watchmen since 1986, when producers
Lawrence Gordon and Joel Silver acquired film rights
to the series for 20th Century Fox.
• In 1991, Fox put the project into “turnaround” and was
moved to Warner Bros.,
• A turnaround is an arrangement in the film industry,
whereby the rights to a project one studio has
developed are sold to another studio in
exchange for the cost of development.

Watchmen
• Gilliam later abandoned the project
because he decided that Watchmen
would have been un-filmable.
Subsequently it was dropped by
Warner Bros.
• In 2004 the film went to Paramount
Pictures but again it was placed in
turnaround when the lead director
left to work on other projects.
• In 2005 Lawrence Gordon took the
film back to Warner Bros where it
was eventually brought to life.

Watchmen
• 20th Century Fox filed a lawsuit to block the
film's release, stating that they still had the
“rights” to the film and that L. Gordon was
supposed to resubmit Watchmen to Fox every
time he came up with a changed element.
• Warner Bros fought this claim but eventually the
studios eventually settled.
• Fox received an upfront payment and a
percentage of the worldwide gross from the film
and all sequels and spin-offs in return.
• The film was released to cinemas in March 2009
a year after the original release date.

How you watch films…
‘Your consumption’

Your Consumption
• You can’t answer this question with ‘I don’t really
watch films…’
• Equally, your response can’t be a list of
everything you’ve watched recently and whether
you liked it or not…
• The best answers will give a range of examples of
the different ways an viewer could watch films,
and will explain how this links to wider patterns
in the industry.

Mr Taylor’s Film Diary
• The Hobbit: The
Desolation of Smaug
• Moneyball
• Elysium
• A Field in England
• Blade Trintiy
• The Wolf of Wall
Street
• Inside Llewyn Davis

Mr Taylor’s Film Diary
Film When/Where/How/Why? Link to the industry
The Hobbit: The Desolation
of Smaug
Moneyball
Elysium
A Field in England
Blade Trinity
The Wolf of Wall Street
Inside Llewyn Davis
December, IMAX
Manchester. Hype,
spectacle (big screen), 3D
‘occasion movie’
January, DVD. Supermarket
promotion. Didn’t care
enough to see it at the
cinema. Like Brad Pitt and
sports movies.
BlinkBox
4OD
Film4
Illegal download
Cornerhouse, Manchester
Large budget, blanket
release, CGI blockbuster.
Cross media convergence
in marketing made it hard
to miss!
DVD promotions
(distribution), star-appeal,
genre.

Your film diaries…
Film When/Where/How/Why? Link to the industry

For example…Introduction
In a world in which changes in technology are a daily
event, audiences are now able to consume films in a huge
variety of ways. Proliferation of technology, along with
increased technological convergence, has meant that
films can be accessed anywhere and at any time,
provided an internet connection is available.
My film viewing habits largely reflect those of most
teenagers in Britain today. They are influenced by both
convenience and the highly effective distribution
strategies that film institutions employ. The most
common way in which I watch films is…

For example…Main Paragraph
Cinema – ‘Desolation of Smaug’
Why – Source material, sequel, US Blockbuster (MGM), CGI,
Release Strategy (Christmas), Cinema as a social occasions
Link to wider trends – This reflects wider audience trends as
this film is designed for maximum effect on the big screen.
Also the Christmas release, combined with the multi-media,
synergistic marketing approach, meant that there was a lot of
hype created for the release. Also, the fact that this is a
sequel, taken from a bestselling novel, would encourage
audiences to make the effort to see it as soon as possible.

Feedback…
Average mark: 30.785(low C)

Average mark: 34 (high C / low B)

General feedback…
• Good range of points (for production,
distribution and exhibition)
• Some effective case studies (Moon (synergy
and CGI), Gravity (CGI), A Field in England
(release strategy))
• More use of keywords required
• Not enough references to institutions
• Case studies often lack the required detail…

Technology: Case Studies
Production
• Proliferation
– Slumdog Millionaire – FilmFour – the cameras used in Mumbai were small yet high quality to allow
realistic scenes to be shot in a difficult location.
– Affordable technology for British indie projects (eg Shifty (Film London / BBC)) making micro-budget
films a possibility.
• CGI – Moon (Cinesite) – example of synergy and proliferation. Simple, cheaper technology makes access to
CGI a possibility for lower-budget films.
Distribution
• Digital Distribution – environment, no loss of quality, blanket releases, cheaper
– DSN – UK Film Council – This is England (FilmFour / Warp Films)
– Blanket Release = less piracy
– No prints = Lower environmental impact
Exhibition
• AFIE – unique release strategy created hype and lots of options for the audience
• Internet and web 2.0 – enabling amateur filmmakers and indie projects to exhibit films.
• Games consoles – Blu-ray and dvd, Zune, rentals, downloads (example of synergy)
• Other points could include:
– On Demand
– Downloads
– Streaming
– DVD and Blu-ray
These all offer increased access for
audiences and (potentially) increased
profits for institutions.
Option – compare and contrast two films throughout the essay

Referring to a case study…
A good example of how technology has proliferated and
allowed films to make use of advanced editing techniques is
‘Moon’ (2009). Produced by Liberty Pictures (an independent
British production company) and directed by Duncan
Jones, the Sundance nominated film managed to use CGI to
create a convincing moon setting despite its relatively low
budget of $5 million. Part of this was accomplished through
synergy; Liberty Pictures worked in partnership with Cinesite
(a British effects company) to access CGI at a reasonable
cost, but the increased availability of advanced technology
was also a factor. The fact that the film’s distribution rights
were secured by Sony Stage 6 shows how successful this
partnership was and how new technology is having such a big
impact.
At the opposite end of the scale, recent UK hit ‘Gravity’ (2014)
is an example of…

Some definitions…
Proliferation: rapid increase and growth
Hardware: a technological device which assists the
production, distribution and/or exhibition of a film.
Examples of hardware would include the camera that
captures the film, the computer and editing software that
cuts and markets the film or a digital projector, to exhibit
the film in a digital cinema. Also hardware for
consumption in the home.
Content: the products that audiences receive from the
film institutions

Proliferation of Hardware and Content
Proliferation of hardware Proliferation of content
Production
Distribution
Exhibition

Proliferation of Hardware and Content
Proliferation of hardware Proliferation of content
Production
Faster computers and high
speed internet (Shifty)
HD cameras – cheaper,
smaller (Slumdog)
Editing software CGI (Moon)
NA
Distribution
Digital distribution (A Field in
England)
Viral marketing campaigns
Social networks
Synergy and cross media
convergence in marketing
Above the line (Posters, teasers,
trailers etc.) and below the line
(viral, social media, youtube etc.)
advertising and marketing.
Exhibition
3D, IMAX, Digital cinemas,
smart TVs, tablets,
downloads, streaming, Blu-
Ray, On Demand, Netflix,
Lovefilm, Iplayer (pick some
films). Tech. convergence!
Apps, websites, games,
soundtracks…

Average mark: 34.0667
(high C / low B)

To improve…
• Detailed case studies!
• References to the institutions
• No more Avatar!

Your homework…
• Submarine / Warp Films case study – has to be
included in your next essay!
• Write the ownership essay
• Revise your case studies (essays without notes
next term wooo!)

Public vs. Private (vs. Independent!)
Funding – guaranteed from the licence fee
And Government
Answerable to the BBC
Trust and licence payers
Only answerable to
the shareholders
Able to form
partnerships with
other companies
(synergy, HI)
Not able to work in all genres?
Can use their
existing brands and
media outlets to
promote, exhibit etc

Ideas…
Production
– Public – BBC Film
– Private – Film4 and The Big Six
– Independent – Warp Films
Distribution (exchange)
– Public – BBC Film
– Private – Film4 and The Big Six
– Independent – Warp Films
Issues:
Budgets, accountability,
genres, mass vs.niche,
importance of synergy,
H/V integration, reaching
an audience…
Issues:
Piracy, budgets, relaese
strategies, above and
below the line marketing,
digital distribution, cross
media convergence

Institutions and Audiences: British Film

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