The UK Film Council (UKFC) was established in 2000 by the Labour government to develop and promote the UK film industry. It invested lottery funding into various programs that supported emerging filmmakers, ambitious projects, and over 100 short films per year. In 2011, the UKFC was dismantled by the Conservative government and its roles and funding were transferred to the BFI. The BFI had historically focused on film archives and education prior to taking over the UKFC's responsibilities of investing in film production and development. It now distributes lottery funds and supports filmmakers through programs like its short film fund.

1. Funding & Support
By Myles Egan

2. What was the UK film council?
What do they do?
The UK Film Council (UKFC) was set up in 2000 by the Labour
Government to develop and promote the film industry in the UK. It
was constituted as a private company limited by guarantee, owned
by the Secretary of State for Culture, Media and Sport. It was
funded through various sources including predominantly the
National Lottery.
The UK Film Council aim to broaden the quality, range and ambition of film projects being
developed in the UK. With £12 million of Lottery funding to invest over three years, the fund
aimed to build a talent-driven home for writers, directors and producers. It helped filmmakers
of all experience levels develop their ideas and screenplays into successful feature films. There
were two funding programmes, one for first-time feature filmmakers and one for established
filmmakers. The First Feature Film Development Programme aimed to identify and support
emerging filmmakers (e.g. screenwriters, writer/directors and writer, director, producer teams)
who had not made a feature film or who had not yet had a feature film released theatrically or
broadcast on UK television. The fund also offered Signature Awards to help further encourage
ambitious and original filmmakers and projects.
Funded films included Andrea Arnolds
second feature film ‘Fish Tank’

3. How did they help short films and short film
makers?
There are three funding programmes:
The First Feature Film Development Programme aimed to identify and support emerging
filmmakers (e.g. screenwriters, writer/directors and writer, director, producer teams) who had
not made a feature film or who had not yet had a feature film released theatrically or
broadcast on UK television. The fund also offered Signature Awards to help further encourage
ambitious and original filmmakers and projects.
The New Cinema Fund supported emerging talent and established filmmakers working outside
the mainstream, focusing on the most innovative writing and the most gifted directors. The
fund had £15 million of Lottery money to invest over three years and funded eight to ten
feature films each year. It had a strong commitment to supporting work from minority ethnic
filmmakers and encouraged the use of digital technology in the production, distribution and
exhibition of films. It also supported over 100 short films each year through its short film
schemes.
The Premiere Fund invested £8 million of Lottery funding per year into mainstream,
commercially-driven films encouraging the involvement of British creative talent in a range of
films to attract audiences the world over.

4. What was the position and role of the BFI prior to
the creation of the film council?
The BFI was introduced in 1933 and helped with funding etc. It
has been around for far longer than UK Film Council as it is still
very knew and was founded in 2000 by Labour, which took over
funds and left the BFI in charge of film archives, schedule for
National Film, education, Sight&Sound Magazine and The
Museum of Moving Image Theatre. With the UK Film Council in
charge, they attempted to make it more democratic and easier
for shorts and the BFI was thought to be making feature films to
artistically develop, but the two companies couldn’t agree and
had mixed views on funding etc. and by 2011, the UK Film
Council were taken over by BFI and therefore BFI re-received
the responsibility back for the funds.

5. How has the position and role of the BFI changed
since the recent government decision to
dismantle the UK Film Council
On the 26th of July 2010 the Conservatives suggested that the
UK Film Council should come to an end, and so on the 31st of
March 2011, John Woodward, the Chief of the UK Film Council
stepped down, which resulted in the UKFC shutting down and
the BFI taking over.
In 1983 BFI received a Royal Charter (A formal document issued
by a monarch as a patent granting the power to a corporation
and is used to establish significant organizations). This was then
brought up to date in 2000 and the newly-established UK Film
Council were made responsible for providing the BFI’s annual
Grant-in-aid. As an independent registered charity, the BFI is
regulated by the Charity Commission and the Privy Council.
When the BFI became in charge of the UK Film Council, it took
control and lead to a small amount of people being made
redundant.

6. What is the role and remit of the BFI?
The transfer of responsibility from the UK Film Council in 2011 left the BFI’s role and
responsibilities as:
•Public Money – This is passed through the Department for Culture, Media and Sport.
Curing 2011-2012 the funding by the public made a total of
£20,000,000.
• Commercial Activity – BFI London IMAX Theatre and the distribution of DVD’s.
• Funding grant’s, sponsorship and donations – The National Lottery funded grants and
private sponsors.
The BFI has three different types of income:
BFI Roles:
Distribution of all Lottery Funds for film – The UKFC would make the UK a global hub for film
in the digital age compared to BFI who’s role was the production and development of the Film
Fund. They’re given £15,000,000 a year to invest in development, production and completion
of feature films.
To support and assist film makers producing there film – In 2012 there was the BFI Shorts
which Lighthouse was in charge of, although now is closed. However, in 2013 if you wanted to
fund a short film, you could turn to ‘Creative England’, ‘Creative Scotland’, ‘Film Agency for
Whales’, ‘Northern Ireland Screen’ or ‘Film London’.

7. In what respects and to what extent does the UK
Film Council continue to exist as an institutional
and cultural film body?
After the UK Film Council shut down, a lot of the staff
transferred to BFI as they were similar companies and due to
them re-receiving responsibilities for funding, they would now
have more vacancies within the company. This shows us to an
extent that the UKFC is in some respects still exists but within
the chambers of the BFI.
The policies within the UK Film Council are also very dominantly
influential towards those of the BFI due to the government
plans that install the organization.
Ed Vaizey announced “The BFI would take on the bulk of
responsibilities previously handled by the outgoing UK Film
Council.” This shows that although the new BFI leadership, the
UK Film Council will remain true to the way in which it was run.
Noel Clark, an actor and
director told the BBC “I’m
very sad that they’re
breaking down but the BFI is
going to continue what they
do” this tells us that to an
extent the UKFC is still an
institutional and cultural film
body as it still has the same
effect in the way it was run
and therefore effects the
same sorts of directors,
artists, audiences etc.

8. What were the Regional Screen Agencies (RSAs)
that Film Council funding was delivered through?
The UK Film Council funded 9 regional screen agencies due to its Regional Investment Fund
for England. These were:
• EM Media – East Midlands
• Film London – London
• Northern Film & Media – Newcastle
• North West Vision & Media
• Screen East
• Screen South – Folkestone
• Screen West Midlands
• Screen Yorkshire – Leeds
• South West Screen
These all took part in helping provide and support within production, training, screen
commissions, cinema exhibition, archives and education.

9. Other Funding Sources

10. Outside of the BFI there are numerous amounts of short
film funds in the UK:
The British Film Council
The British Council Film Works with a worldwide network
and a range of international partners to develop
imaginative film projects, including organizing
programmes of contemporary British films, advising on
international events (festivals, seminars, master classes,
workshops, UK/European film weeks, multi-arts festivals
etc), and arranging for filmmakers and expert film
industry specialists to represent the UK abroad.
They are committed to showcasing new UK talent for all
audiences and operates a programme called the Short
Support Scheme selecting new UK short films to promote
at international festivals, and runs an associated Travel
Grant fund launched in May 2012.
Charities are also a possible source for
funding that are somehow linked to the
goals/aim of your short film. As an
example, the Wellcome Trust, one of the
UK's largest medical research charity, has
an Arts Awards which funds projects, as
well as short films, that are inspired by
biomedical science.
CineCrowd is a crowd-funding platform for feature films,
animation films, documentaries and video clips, and
welcomes all types of audiovisual projects. Over 80% of
all CineCrowd projects are successful in finding financial
support - more than on any other crowd funding
platform.
CineCrowd
It is possible to gather funding from Local
Councils who will put money towards short
film making, especially if it is dealing with
social exclusion or aids the local community
in some way.