The UK Film Council was established in 2000 to support the British film industry and was dissolved in 2011 with its responsibilities handed over to the British Film Institute (BFI). The UK Film Council distributed funding through regional screen agencies to support production, development, distribution and exhibition of films across the UK. As a short filmmaker, there are now several funds one could apply to outside of the BFI, including the London Borough Film Fund Challenge, The Shorts Support Scheme, and Virgin Media Shorts.
The UK Film Council was established in 2000 by the UK government to support and promote the British film industry. It distributed around £27 million annually from the national lottery to support film production, development, distribution, and more. It also helped support short filmmakers through several funds totaling nearly £17 million. In 2011, the UK Film Council was dismantled under the new Conservative-led government and its roles and responsibilities were transferred to the British Film Institute (BFI). The BFI now handles film funding in the UK, including £18 million annually for the film fund to support development, production and completion of feature films and shorts. It also oversees the BFI Shorts scheme for short films.
The UK Film Council was established in 2000 by the UK government to support and promote the British film industry. It distributed around £27 million per year from the national lottery to support film production, development, distribution, and exhibition. It worked with regional screen agencies and the BFI. In 2010, the UK Film Council was dismantled and its responsibilities were transferred to the BFI. The BFI now handles film funding in the UK, including distributing lottery money to short filmmakers. Several regional and national funds still exist to support short filmmakers, festivals are also important for promotion.
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.
The UK Film Council funds and supports the British film industry in several key ways:
1) It distributes over £50 million per year from the National Lottery and government to support script development, film production, distribution, exports, education and training through various funds and programs.
2) It works with the government and film industry on policy issues and provides strategic guidance to help ensure the long-term success and competitiveness of the British film business.
3) Through organizations it partners with like the BFI, regional screen agencies and training bodies, the Film Council aims to develop new talent and audiences and preserve film heritage.
The UK Film Council aimed to support short films and develop new filmmakers through various funding schemes for areas like script development, production, distribution, and education. After it was dismantled, most of its functions transferred to the British Film Institute (BFI), including lottery funding for British film development and production. Regional Screen Agencies also helped fund short filmmakers across the UK, though their role may change following structural changes.
The UK Film Council was a charity that awarded National Lottery funding to support film production, distribution, education, and research in the UK. It also supported short filmmakers and independent distributors. Prior to the Film Council, the British Film Institute (BFI) was a private company that received some public funding. Since the government dismantled the Film Council, most of its functions have been transferred to the BFI, including distributing National Lottery funding for new British films. The Regional Screen Agencies also helped fund short films across the UK until changes to funding structures.
The UK Film Council was a charity that awarded National Lottery funding to support film production, distribution, education, and research in the UK. It also supported short filmmakers and independent distributors. Prior to the Film Council, the British Film Institute (BFI) was a private company that received some public funding. Since the government dismantled the Film Council, most of its functions have been transferred to the BFI, including distributing National Lottery funding for new British films. The Regional Screen Agencies also helped fund short films across the UK until changes to funding structures.
Part 2 – short film context: Funding and SupportGrace Johansson
The UK Film Council and British Film Institute were public organizations that funded and supported the UK film industry through various means such as lottery funds. The UK Film Council distributed over £160 million to 900 films before closing in 2008, after which the BFI took over its role. The BFI continues to fund short films and new filmmakers through lottery funds and grants ranging from £2,250 for shorts to £40,000 for features. Emerging filmmakers can also receive funding from additional sources like regional film organizations and crowdfunding websites.
The UK Film Council was established in 2000 by the UK government to support and promote the British film industry. It distributed around £27 million annually from the national lottery to support film production, development, distribution, and more. It also helped support short filmmakers through several funds totaling nearly £17 million. In 2011, the UK Film Council was dismantled under the new Conservative-led government and its roles and responsibilities were transferred to the British Film Institute (BFI). The BFI now handles film funding in the UK, including £18 million annually for the film fund to support development, production and completion of feature films and shorts. It also oversees the BFI Shorts scheme for short films.
The UK Film Council was established in 2000 by the UK government to support and promote the British film industry. It distributed around £27 million per year from the national lottery to support film production, development, distribution, and exhibition. It worked with regional screen agencies and the BFI. In 2010, the UK Film Council was dismantled and its responsibilities were transferred to the BFI. The BFI now handles film funding in the UK, including distributing lottery money to short filmmakers. Several regional and national funds still exist to support short filmmakers, festivals are also important for promotion.
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.
The UK Film Council funds and supports the British film industry in several key ways:
1) It distributes over £50 million per year from the National Lottery and government to support script development, film production, distribution, exports, education and training through various funds and programs.
2) It works with the government and film industry on policy issues and provides strategic guidance to help ensure the long-term success and competitiveness of the British film business.
3) Through organizations it partners with like the BFI, regional screen agencies and training bodies, the Film Council aims to develop new talent and audiences and preserve film heritage.
The UK Film Council aimed to support short films and develop new filmmakers through various funding schemes for areas like script development, production, distribution, and education. After it was dismantled, most of its functions transferred to the British Film Institute (BFI), including lottery funding for British film development and production. Regional Screen Agencies also helped fund short filmmakers across the UK, though their role may change following structural changes.
The UK Film Council was a charity that awarded National Lottery funding to support film production, distribution, education, and research in the UK. It also supported short filmmakers and independent distributors. Prior to the Film Council, the British Film Institute (BFI) was a private company that received some public funding. Since the government dismantled the Film Council, most of its functions have been transferred to the BFI, including distributing National Lottery funding for new British films. The Regional Screen Agencies also helped fund short films across the UK until changes to funding structures.
The UK Film Council was a charity that awarded National Lottery funding to support film production, distribution, education, and research in the UK. It also supported short filmmakers and independent distributors. Prior to the Film Council, the British Film Institute (BFI) was a private company that received some public funding. Since the government dismantled the Film Council, most of its functions have been transferred to the BFI, including distributing National Lottery funding for new British films. The Regional Screen Agencies also helped fund short films across the UK until changes to funding structures.
Part 2 – short film context: Funding and SupportGrace Johansson
The UK Film Council and British Film Institute were public organizations that funded and supported the UK film industry through various means such as lottery funds. The UK Film Council distributed over £160 million to 900 films before closing in 2008, after which the BFI took over its role. The BFI continues to fund short films and new filmmakers through lottery funds and grants ranging from £2,250 for shorts to £40,000 for features. Emerging filmmakers can also receive funding from additional sources like regional film organizations and crowdfunding websites.
The UK Film Council announced it would invest £18 million over two years in regional film industries across England. Screen Yorkshire, the regional film agency for Yorkshire, would receive £7.7 million over two years from the Regional Investment Fund for England to support film production, education, exhibitions, and training. An additional £2.7 million Digital Archive Fund would help unlock regional film heritage and give each region £300,000 over two years. The funding would allow Screen Yorkshire to continue developing the film industry in Yorkshire through various initiatives.
The Department for Culture, Media and Sport (DCMS) is responsible for setting policy to support the British film industry through funding, tax incentives, and the Cultural Test, which determines if a film qualifies as British; the DCMS works with organizations like the British Film Institute (BFI) and provides lottery funding and financial support for production. The DCMS also negotiates co-production agreements and issues film certificates to allow companies to claim tax relief.
The document discusses factors that define a British film, including whether the story/setting, director, cast, financing, and intended audience are British. It provides examples of films like "Control" and "This is England" that would qualify as British films according to recent UK government criteria focusing on cultural hubs (UK production), cultural practitioners (UK cast and crew), and cultural content (British setting and characters). Readers are asked to discuss films that meet these criteria in small groups.
Ill manors – institution information filled in tablesandraoddy2
The document summarizes the involvement of different institutions in the production and distribution of the film "Ill manors". BBC Films co-produced the film and provided financing as the independent production arm of the BBC. Microwave Film London also financed the production as a public agency supported by Film London. Aimimage was involved in production and owns a film studio in North London. Revolver Entertainment bought the distribution rights and is a small independent distributor that has produced three films specializing in youth films.
Evaluation Question 3- What kind of media instituion might distribute your me...fran3002
Vertigo Films would be the most suitable media institution to distribute a low-budget British film because:
1) Vertigo Films is a UK media company that specializes in creating and distributing commercially viable independent cinema projects.
2) They focus on addressing audiences in a careful way and producing films within tight budgets.
3) Their approach to budgets and technology allows them to effectively distribute low-budget British films to targeted audiences.
The UK Film Council backs over 900 films to support upcoming British directors and make the UK a global center for film. They partner with other organizations to fund low-budget films appealing to niche audiences. BBC Films, Vertigo Films, and Film Four similarly produce and distribute independent British films, with an emphasis on authenticity and developing new talent on limited budgets. These institutions would be suitable to distribute a new UK-based social realist film.
The UK Film Council, BBC Films, Vertigo Films, and Film Four are major film institutions in the UK that support the production and distribution of British films. The UK Film Council has backed over 900 films to make the UK a global center for film and supports new directors. BBC Films finds and develops new talent to produce independent British films. Vertigo Films creates commercially driven independent films using new technologies while paying attention to budgets. Film Four showcases British and international films and partners with Warp X Films to challenge films budgets and expand niche audiences. These institutions would likely distribute a UK-based social realist film.
The document discusses several regulatory bodies and their roles:
The Advertising Standards Authority (ASA) regulates advertising in the UK through a self-regulatory code of practice. The British Board of Film Classification (BBFC) classifies and censors films and videos in the UK. Pan European Game Information (PEGI) rates video games and apps to help consumers make informed choices. OFCOM regulates broadcasting, telecommunications, and postal industries in the UK. The Performing Right Society (PRS) collects fees for music performances to compensate composers and songwriters. The Independent Press Standards Organisation (IPSO) regulates the newspaper and magazine industry in the UK. The World Wide Web Consortium (W3C) develops standards for the
The British Board of Film Classification was established in 1912 to bring uniformity to varying local film censorship standards in the UK. It aims to classify films and videos in a way that is acceptable nationally while remaining independent of industry and political influences. The BBFC's role expanded in 1984 when it was designated to classify videos in addition to films. It adopted its current name to reflect this broader remit and now operates according to published Guidelines that are reviewed regularly based on public consultation.
The document provides an overview of film distribution and the role of distributors in the film industry. It discusses how distributors work with filmmakers to acquire films, strategize their release and promote them to audiences in theaters and later on other platforms. Distributors are responsible for the commercial success of films by implementing effective marketing and distribution campaigns. The film industry in the UK remains strong with over 500 films released annually in theaters, but it is challenging for each film to stand out from the competition, making the work of distributors crucial to help films find and connect with audiences.
Studio Canal UK is a British film distribution company that releases British independent films as well as anime and foreign language films. They were previously known as Optimum Releasing but were acquired by Studio Canal, which is owned by the large French media company Vivendi. The document recommends Studio Canal UK as a potential distributor because they support independent British films like the author's, and have successfully distributed similar films in terms of genre, themes, and target audiences, such as This Is England and Submarine. The author's film also includes some known British actors from Submarine, which could help attract audiences.
The document discusses various aspects of the British television and film industries, including funding sources, ownership structures, and technologies used by different broadcasters and providers. It covers the BBC, ITV, Channel 4, Channel 5, BSkyB, Virgin Media, BT Vision, and UKTV. It also discusses the American and British film industries as well as roles, contracts, legislation, and ethics within television and film.
The document discusses various aspects of the British television industry, including funding, ownership, and technology of different TV channels and providers. It also covers job roles, contracts, legislation, and ethics in the television and film industries. Networking is important for getting jobs in media, and can be done at trade fairs. Education and training build necessary qualifications and skills, and personal, technological, and training needs are important for skills analysis.
The document discusses various aspects of the television industry in Britain, including funding, ownership, and technology of different channels. It also discusses funding, ownership, and technologies used by major TV providers in Britain like Sky, Virgin Media, and BT. Additionally, it covers funding, ownership, and technologies of the UKTV network.
To be considered a British film, a film must pass a cultural test administered by the UK film council. The test contains 31 points across 4 sections - cultural content, cultural contribution, cultural hubs, and cultural practitioners. A film needs at least 16 points to pass the test. Being designated a British film provides tax relief for film production companies of up to 25% for films spending less than £20 million or 20% for films spending more. In addition to passing the cultural test, British films must be intended for theatrical release and have minimum UK production spending of 25%.
The Usurp Zone5 Film Festival will take place from 14-17 August 2015 at the Usurp Art Gallery & Studios in London, featuring over 80 experimental short films from over 15 countries. The festival aims to highlight DIY creativity through its diverse programming of films exploring various genres like abstract, animated, experimental, and more. Audiences can expect extraordinary screenings, an exhibition, and a film soundtrack event for the price of £5, with the goal of inspiring reflection and discussion.
The document discusses several key aspects of the British film industry:
- It identifies the main organizations that support and promote British film, including the BFI and UK Film Council.
- It notes that a film needs to meet three of six criteria to qualify as a British film, such as having a British director or production company.
- It examines box office figures from a sample weekend, finding that while some British films made the top 10, Hollywood blockbusters dominated earnings.
The document provides definitions and key details about various media industries including film, TV, radio, print, and online. It defines each industry and lists some major companies. It then outlines key roles in each industry such as producer, director, and editor. It also identifies governing bodies that regulate the industries such as BBFC for film, Ofcom for TV and radio, and Press Complaints Commission for print. Each section concludes with a brief case study example.
This document provides an overview of the history and models of public service broadcasting and commercial broadcasting in the UK. It discusses the founding of the BBC in 1922 based on John Reith's principle that broadcasting should be protected from commercial pressures and serve the whole community. The introduction of ITV in 1954 and Channel 4 in 1982 provided alternatives but were still subject to public service obligations. Sky Television launched in 1998 as the first commercial subscription service not bound by a public service remit. Students are then asked to debate the advantages and disadvantages of the two models and consider whether the UK should keep the television license fee.
Grupo Polar domina la producción de bienes en Venezuela, mientras que Grupo P&G también tiene una fuerte presencia. Otros grupos multinacionales también participan en el mercado de bienes, aunque en menor medida que los dos principales.
SlideShare es un sitio web que permite a los usuarios subir y compartir presentaciones de diapositivas de forma gratuita. Los usuarios pueden evaluar, comentar y compartir el contenido subido. SlideShare también ofrece funciones como Zipcasts que permiten transmitir presentaciones en línea con audio y video.
The UK Film Council announced it would invest £18 million over two years in regional film industries across England. Screen Yorkshire, the regional film agency for Yorkshire, would receive £7.7 million over two years from the Regional Investment Fund for England to support film production, education, exhibitions, and training. An additional £2.7 million Digital Archive Fund would help unlock regional film heritage and give each region £300,000 over two years. The funding would allow Screen Yorkshire to continue developing the film industry in Yorkshire through various initiatives.
The Department for Culture, Media and Sport (DCMS) is responsible for setting policy to support the British film industry through funding, tax incentives, and the Cultural Test, which determines if a film qualifies as British; the DCMS works with organizations like the British Film Institute (BFI) and provides lottery funding and financial support for production. The DCMS also negotiates co-production agreements and issues film certificates to allow companies to claim tax relief.
The document discusses factors that define a British film, including whether the story/setting, director, cast, financing, and intended audience are British. It provides examples of films like "Control" and "This is England" that would qualify as British films according to recent UK government criteria focusing on cultural hubs (UK production), cultural practitioners (UK cast and crew), and cultural content (British setting and characters). Readers are asked to discuss films that meet these criteria in small groups.
Ill manors – institution information filled in tablesandraoddy2
The document summarizes the involvement of different institutions in the production and distribution of the film "Ill manors". BBC Films co-produced the film and provided financing as the independent production arm of the BBC. Microwave Film London also financed the production as a public agency supported by Film London. Aimimage was involved in production and owns a film studio in North London. Revolver Entertainment bought the distribution rights and is a small independent distributor that has produced three films specializing in youth films.
Evaluation Question 3- What kind of media instituion might distribute your me...fran3002
Vertigo Films would be the most suitable media institution to distribute a low-budget British film because:
1) Vertigo Films is a UK media company that specializes in creating and distributing commercially viable independent cinema projects.
2) They focus on addressing audiences in a careful way and producing films within tight budgets.
3) Their approach to budgets and technology allows them to effectively distribute low-budget British films to targeted audiences.
The UK Film Council backs over 900 films to support upcoming British directors and make the UK a global center for film. They partner with other organizations to fund low-budget films appealing to niche audiences. BBC Films, Vertigo Films, and Film Four similarly produce and distribute independent British films, with an emphasis on authenticity and developing new talent on limited budgets. These institutions would be suitable to distribute a new UK-based social realist film.
The UK Film Council, BBC Films, Vertigo Films, and Film Four are major film institutions in the UK that support the production and distribution of British films. The UK Film Council has backed over 900 films to make the UK a global center for film and supports new directors. BBC Films finds and develops new talent to produce independent British films. Vertigo Films creates commercially driven independent films using new technologies while paying attention to budgets. Film Four showcases British and international films and partners with Warp X Films to challenge films budgets and expand niche audiences. These institutions would likely distribute a UK-based social realist film.
The document discusses several regulatory bodies and their roles:
The Advertising Standards Authority (ASA) regulates advertising in the UK through a self-regulatory code of practice. The British Board of Film Classification (BBFC) classifies and censors films and videos in the UK. Pan European Game Information (PEGI) rates video games and apps to help consumers make informed choices. OFCOM regulates broadcasting, telecommunications, and postal industries in the UK. The Performing Right Society (PRS) collects fees for music performances to compensate composers and songwriters. The Independent Press Standards Organisation (IPSO) regulates the newspaper and magazine industry in the UK. The World Wide Web Consortium (W3C) develops standards for the
The British Board of Film Classification was established in 1912 to bring uniformity to varying local film censorship standards in the UK. It aims to classify films and videos in a way that is acceptable nationally while remaining independent of industry and political influences. The BBFC's role expanded in 1984 when it was designated to classify videos in addition to films. It adopted its current name to reflect this broader remit and now operates according to published Guidelines that are reviewed regularly based on public consultation.
The document provides an overview of film distribution and the role of distributors in the film industry. It discusses how distributors work with filmmakers to acquire films, strategize their release and promote them to audiences in theaters and later on other platforms. Distributors are responsible for the commercial success of films by implementing effective marketing and distribution campaigns. The film industry in the UK remains strong with over 500 films released annually in theaters, but it is challenging for each film to stand out from the competition, making the work of distributors crucial to help films find and connect with audiences.
Studio Canal UK is a British film distribution company that releases British independent films as well as anime and foreign language films. They were previously known as Optimum Releasing but were acquired by Studio Canal, which is owned by the large French media company Vivendi. The document recommends Studio Canal UK as a potential distributor because they support independent British films like the author's, and have successfully distributed similar films in terms of genre, themes, and target audiences, such as This Is England and Submarine. The author's film also includes some known British actors from Submarine, which could help attract audiences.
The document discusses various aspects of the British television and film industries, including funding sources, ownership structures, and technologies used by different broadcasters and providers. It covers the BBC, ITV, Channel 4, Channel 5, BSkyB, Virgin Media, BT Vision, and UKTV. It also discusses the American and British film industries as well as roles, contracts, legislation, and ethics within television and film.
The document discusses various aspects of the British television industry, including funding, ownership, and technology of different TV channels and providers. It also covers job roles, contracts, legislation, and ethics in the television and film industries. Networking is important for getting jobs in media, and can be done at trade fairs. Education and training build necessary qualifications and skills, and personal, technological, and training needs are important for skills analysis.
The document discusses various aspects of the television industry in Britain, including funding, ownership, and technology of different channels. It also discusses funding, ownership, and technologies used by major TV providers in Britain like Sky, Virgin Media, and BT. Additionally, it covers funding, ownership, and technologies of the UKTV network.
To be considered a British film, a film must pass a cultural test administered by the UK film council. The test contains 31 points across 4 sections - cultural content, cultural contribution, cultural hubs, and cultural practitioners. A film needs at least 16 points to pass the test. Being designated a British film provides tax relief for film production companies of up to 25% for films spending less than £20 million or 20% for films spending more. In addition to passing the cultural test, British films must be intended for theatrical release and have minimum UK production spending of 25%.
The Usurp Zone5 Film Festival will take place from 14-17 August 2015 at the Usurp Art Gallery & Studios in London, featuring over 80 experimental short films from over 15 countries. The festival aims to highlight DIY creativity through its diverse programming of films exploring various genres like abstract, animated, experimental, and more. Audiences can expect extraordinary screenings, an exhibition, and a film soundtrack event for the price of £5, with the goal of inspiring reflection and discussion.
The document discusses several key aspects of the British film industry:
- It identifies the main organizations that support and promote British film, including the BFI and UK Film Council.
- It notes that a film needs to meet three of six criteria to qualify as a British film, such as having a British director or production company.
- It examines box office figures from a sample weekend, finding that while some British films made the top 10, Hollywood blockbusters dominated earnings.
The document provides definitions and key details about various media industries including film, TV, radio, print, and online. It defines each industry and lists some major companies. It then outlines key roles in each industry such as producer, director, and editor. It also identifies governing bodies that regulate the industries such as BBFC for film, Ofcom for TV and radio, and Press Complaints Commission for print. Each section concludes with a brief case study example.
This document provides an overview of the history and models of public service broadcasting and commercial broadcasting in the UK. It discusses the founding of the BBC in 1922 based on John Reith's principle that broadcasting should be protected from commercial pressures and serve the whole community. The introduction of ITV in 1954 and Channel 4 in 1982 provided alternatives but were still subject to public service obligations. Sky Television launched in 1998 as the first commercial subscription service not bound by a public service remit. Students are then asked to debate the advantages and disadvantages of the two models and consider whether the UK should keep the television license fee.
Grupo Polar domina la producción de bienes en Venezuela, mientras que Grupo P&G también tiene una fuerte presencia. Otros grupos multinacionales también participan en el mercado de bienes, aunque en menor medida que los dos principales.
SlideShare es un sitio web que permite a los usuarios subir y compartir presentaciones de diapositivas de forma gratuita. Los usuarios pueden evaluar, comentar y compartir el contenido subido. SlideShare también ofrece funciones como Zipcasts que permiten transmitir presentaciones en línea con audio y video.
As part of the mission of the CEGD, the CEGD sponsors quarterly events for aspiring and professional developers to demo their projects and findings to the gaming community. These events are called CEGD Demo Days. This document is an overview.
The document presents information about Sankalp Jute Products, a manufacturer of diversified jute products. It discusses the company's adherence to quality standards, variety of designs, on-time delivery, and skilled craftsmanship. It also provides examples of product categories like corporate gifts, bags, and home decor made from jute. The document includes several photos showcasing sample products and instructs readers how to view more products online or follow the company on social media. It concludes by thanking the reader and providing contact details.
PowerPoint permite crear presentaciones que incluyen texto, imágenes, gráficos y videos para proyectarlas. Las diapositivas son las "hojas" que contienen marcadores de posición que pueden editarse para personalizar la presentación. Los marcadores de posición proveen plantillas ajustables para guiar el desarrollo de la presentación.
Agriculture en Turquie : opportunités pour les entreprises bretonnesLaurence KNECHT
Les conseils d'Ilker ONUR, notre partenaire basé à Istanbul, pour bien aborder le marché turc. Pour approfondir le sujet, et obtenir des réponses sur mesure à votre entreprise, contactez BCI : 02 99 25 04 04
This document announces a new album by The Legendary Ten Seconds titled "Richard III" focusing on the life and times of King Richard III. The album contains 25 songs and historical narratives about Richard III. It was recorded in 2014-2015 and will be released digitally on July 6, 2015, the anniversary of Richard III's coronation, and as a CD version in October 2015 with additional songs and narratives. Profits will support SAUK, a UK scoliosis charity.
20151003 PPI Comparison of pension outcomes under EET and TEE tax treatmentSarah Luheshi
This report analyzes the impact of potential reforms to the UK's pension tax relief system, including maintaining the current EET system or moving to a TEE system. It models the effects on individuals' retirement savings based on their tax rates during working life. It finds that basic rate taxpayers tend to benefit from a flat rate EET system, while higher rate taxpayers see reduced savings under TEE or lower-rate EET. It also examines the cost implications for the government and distributional effects across income levels and ages. Finally, it considers an alternative system treating defined benefit and defined contribution pensions differently based on annual and lifetime allowances.
Purpose: This Social Media Strategy is primarily a resource to sharpen the focus on current Social Media initiatives using customer-centric methodologies that can be seamlessly integrated back into products to achieve core business objectives. Ultimately stepping up the level of engagement by providing actionable insight into emerging trends in the customer experience. Proposing guidelines that can be used by Stakeholders (on all levels) when collaborating with Marketing to measure success and get the envisioned results from Social Media endeavors. This strategy is not intended as a proposal for a Community but as response to customer needs to give the enterprise a common approach in order to reach customers in a “Right Here, Right Now” society. Therefore recognizing the benefits of a convergence strategy that leverages people’s passion for our products and the ability to collaborate in the social spaces where people live online.
The UK Film Council (UKFC) was established in 2000 to develop and promote the UK film industry. It had a mandate to stimulate a competitive and vibrant UK film industry through cultural, social, and economic means. As of 2008, the UKFC had 90 employees and distributed over £160 million to over 900 films from lottery funds. However, in 2010 the UK government announced it would abolish the UKFC, transferring its functions to the British Film Institute despite protests that its closure had no consultation.
Bullet Point 6. Financing the UK Entertainment IndustryIGilmore
The document discusses sources of funding for the UK entertainment industry. The leading agency is the BFI, which utilizes funding from the National Lottery to invest over £26 million per year in developing and distributing British films. Other sources of funding mentioned include the BBC Films, Film4, and BFI Network. Government and EU funding have also supported the industry, with the UK receiving over £298 million from the EU in the past decade for cultural and creative projects.
The document discusses several key aspects of British cinema:
1) There are debates around whether British films should represent British culture to domestic audiences through public funding, or compete internationally by attracting wide audiences.
2) The UK Film Council was set up in 2000 to centralize public support for film through various funding programs.
3) There are discussions around whether British cinema should receive any public money given some films' financial performances. British films must balance representing national culture with finding international distribution.
The document discusses two opposing views on the aim of British cinema: 1) It should be a national cinema representing British culture to British audiences, requiring public funding. 2) It should be a profitable business competing internationally by attracting wide audiences. The UK Film Council aims to balance these by funding different types of films, including popular films to entertain broad audiences but also more difficult, culturally important films. However, some argue this excludes certain artistic or controversial films needing subsidy. Overall the Film Council has had success funding films that are both commercial and critical successes.
The document summarizes the key points from the 2012 UK Film Policy Review conducted by Lord Smith. The review recommended that 1) producers should recoup funding from financially successful films to reinvest in future productions, 2) broadcasters like Sky and ITV should increase investment in British films, and 3) film education should be brought into every British school to develop new audiences. Some concerns about the review included that it may sideline independent films and focus funding only on commercial successes, which are difficult to predict. The overall goal appeared to continue supporting a wide range of British films and improve audiences for local films.
Public funding for film in the UK was estimated at £266 million in 2009/10, with the largest sources being the UK film tax relief program which provided £95 million, and the National Lottery which contributed £60 million. The UK Film Council, now replaced by the BFI, was the third largest source of funding.
The document discusses several key aspects of the British film industry:
- It identifies the main organizations that support and promote British film, including the BFI and UK Film Council.
- It outlines the criteria for a film to be considered British, such as having a British director or being based on a British story.
- It examines box office data from a sample weekend which shows that while US films dominated the top spots, several British films also performed well, indicating the British industry can attract audiences.
The British Film Council aims to promote and develop British film and television. It provides over £54 million in funding annually from the National Lottery and government for activities like script development, film production, short films, cinema, and film education. For a film to be considered British, it must meet criteria such as being directed and produced by British citizens and telling a distinctly British story. The Council works with industry partners to create a sustainable British film industry and provides direct financial support to culturally British film productions.
The document discusses the British film industry and what makes a film British. It explains that the British Film Council and British Council work to promote and support the British film industry. The British Council defines six criteria for a film to be considered British, including having a British producer, director, cast, or subject matter related to the British experience. The document asks students to analyze film trailers and determine if they meet the criteria to be classified as British films.
What kind of media institution might distribute your media product and whyStephanie
This document discusses different types of media institutions that could potentially distribute a film product. It explains that media institutions include companies that disseminate media products to audiences, such as distributing films to cinemas nationally or internationally, or later to stores to sell DVDs or soundtracks. It also notes that institutions can fund film projects by agreeing to back directors' or producers' pitches. The document then examines specific popular UK institutions like the BBC, UK Film Council, Vertigo Films, and Film4 that have distributed films like "Last Resort," "This is England," and "Half Nelson." It provides details on the goals and practices of each institution in identifying and supporting new filmmakers and projects.
What kind of media institution might distribute your media product and why?Stephanie
This document discusses different types of media institutions that could potentially distribute a film product. It explains that media institutions include companies that disseminate media products to audiences, such as distributing films to cinemas nationally or internationally, or later to stores to sell DVDs or soundtracks. It also notes that institutions can fund film projects by agreeing to back directors' or producers' pitches. The document then examines specific popular UK institutions like the BBC, UK Film Council, Vertigo Films, and Film4 that have distributed films like "Last Resort," "This is England," and "Half Nelson." It provides details on the goals and practices of each institution in identifying and supporting new filmmakers and projects.
Yet another updated ppt feature something stolen from someone else but which has been transformed so much it bears little or no resemblance to the original.
The document discusses several aspects of British film including:
1) Defining what constitutes a "British film" is challenging due to the diversity of British culture but it generally includes films shot in the UK with a British crew/cast, financed in the UK, or addressing British identity.
2) The British Film Institute funds various aspects of the film industry like script development, production, distribution and exports, as well as education and cultural programs, with £15 million annually though most applicants are rejected.
3) A film can be considered British if it meets 3 criteria such as having a British producer, production team, director, or predominantly British cast and subject matter relevant to British experience.
The UK Film Council, Film Four, and Vertigo Films are three institutions that could potentially distribute the filmmakers' opening sequence. The UK Film Council distributes around £54 million annually from the lottery and government to support short films and film production. Film Four invests around £500,000 per film for their 20 films produced per year, making their budget suitable. Vertigo Films is an independent film company that funds films of varying budgets and allows films to be downloaded, helping redistribute films and provide new experiences, making them the best institution to exhibit the filmmakers' opening sequence.
The document discusses the British Film Institute and how it funds script development, film production, and distribution for British films through various funds and tax breaks. It also examines different production companies in the UK and case studies of successful British films like Harry Potter, The King's Speech, and Four Lions that received partial funding and tax incentives from British organizations. The challenges of producing and distributing British films that need to appeal to both domestic and international audiences are also addressed.
This is a complex question without a straightforward answer. A film's success is usually determined by both its appeal and the resources devoted to distributing and marketing it. Here are a few key points:
- A highly appealing film is more likely to find an audience, but it still needs exposure through distribution and marketing channels to reach its potential viewers.
- Marketing and promotion help raise awareness of a film and convey what it's about, which is important for driving interest and ticket/DVD sales. This is especially true for independent films with limited budgets.
- Wider distribution through more cinemas and territories increases the chances of finding an audience. However, distribution is costly and not guaranteed to overcome lack of appeal.
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The document discusses the British film industry, including its objectives to identify key issues and evaluate popularity with audiences. It then provides information on organizations within the British film industry and their roles. These include the BFI which supports and promotes film, the BBFC which classifies and censors films, the British Council which promotes British films internationally, and the UK Film Council which previously promoted the economic, cultural and educational aspects of film. It also lists some major British production companies and their recent films. Finally, it discusses reasons for having a British film industry, how British films attract audiences, and compares British films to Hollywood blockbusters.
The document discusses defining what constitutes a "British film" and outlines several perspectives on this. It notes that defining Britishness is complicated by the influx of other cultures. It also explains the UK Film Council and Department of Media, Culture and Sport's definition, which focuses on funding sources and number of British personnel. The British Film Institute further categorizes films based on factors like funding sources and production location/resources. Students will need to analyze a contemporary UK production or distribution company for a case study considering its production, distribution, and consumption aspects.
Warp Film is an independent British film company based in London and Sheffield. As an independent studio, it has more limited funding than major studios but seeks financing from various UK film councils and organizations. It stresses the importance of using short films to impress potential funders and get noticed. Some of Warp Film's biggest successes include This Is England, which won several awards, and Submarine, which had a small £1.2 million budget but made over £2 million in profits. However, some of its films like Bunny and the Bull and Grow Your Own were financial flops. Warp Film's success is attributed to securing funding from multiple UK sources and producing low-budget films that are acclaimed and commercially successful.
The document discusses how effectively the filmmaker's main film product and supplementary materials work together. It analyzes how the film poster reflects the themes, style, and issues portrayed in the film, such as abuse. It also examines how the film review informs audiences about the film's genre, themes, and targeted age group. Both the poster and review represent the vulnerability of the main character similarly. Overall, the document concludes that the film, poster, and review synergize well and clearly reflect each other in representing the film's social realism genre and key thematic elements like drug abuse.
The document discusses how effectively the filmmaker's main film product and ancillary texts of a poster and review work together. It finds that the poster, film, and review are all highly effective representations of the film's themes of drug abuse, physical abuse, and the vulnerability of the main character. All three products use similar techniques like low-key lighting and imagery of the weak protagonist to represent the film's dark social realism genre and issues in a cohesive manner. The review provides context and analyzes the film's themes, while the poster attracts audiences visually and hints at the film's hidden meanings. Overall, the ancillary texts enhance and reflect the film well.
The document provides advice on key elements to consider when writing a short screenplay. It discusses the importance of the protagonist and having a clear active question that drives the action. It also addresses who or what opposes the protagonist and ensuring the story is told from a specific point of view. Additional elements covered include establishing the theme, and selecting an appropriate style and tone for the film.
The UK Film Council was established in 2000 to support the British film industry and was dissolved in 2011 with its responsibilities handed over to the British Film Institute (BFI). The UK Film Council distributed around £27 million annually from the national lottery to support film production, development, distribution and more. It also supported short filmmakers through three funds totaling nearly £17 million. Regional Screen Agencies received funding from the UK Film Council to support production, training, exhibitions and more in their regions. Since the UK Film Council closed, the BFI now handles film funding, including £18 million annually for feature film development and production and the BFI Shorts scheme managed by Lighthouse Productions. Short filmmakers now apply to different funds like
Social realism depicts social and economic hardships through undisguised images of life's struggles. It emerged in the 19th century as a means of oppositional or reformist representation. Social realism portrays realistic events in life that audiences can relate to, helping people deal with issues and problems. There are differing opinions on how to define social realism seen as it is political and historically dependent.
Social realism depicts social and economic hardships through undisguised images of life's struggles. It emerged in the 19th century as a means of oppositional or reformist representation. Social realism portrays realistic events in life that audiences can relate to, helping people deal with issues and problems. There are differing opinions on how to define social realism seen as its political and historical context can shape portrayals.
The document appears to be the results of a questionnaire given to an audience about the genre of social realism films. The results show that most of the audience has some basic understanding of social realism and what themes and issues it explores. However, some in the audience do not watch social realism films often and certain aspects like depictions of realistic but difficult situations can put some viewers off. Most of the audience says they would be open to watching another social realism film, especially if it helps them better understand real-life issues.
2. What was the UK Film Council?
- The UK film council governs British films it was set up in 2000, it funds for films
which are under influence of the UK’s background and economy. They are the
Governments strategic agency for film within the UK. They create the UK to become
a natural home for film within digital age, this helps within the competitors of film
and the cultural aspects of film.
So what do they do?
The UK Film Council work within the Government and the film industry, they help with what
can disrupt films and get in the way for example: economic and cultural issues can really affect
film so the UK Film Council offer advice on ways to deal with these issues. and many others.
- The UK Film Council roughly distribute £27,000,000 by the government to support film
production, script development, film export and distribution, short films, cinema and
educational film etc.They distribute £27,000,000 from the national lottery.
Overall the UK Film Council supports films that have
British identity and aim to make the films a success and
promote UK films.
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3. What did it do to support short filmmakers and short
film making?
The UK Film Council helped support short film makers and short film making by Direct fund for short films and feature.
-There were three funds which offered nearly £17,000,000 for the production and development of the films.
– The Development Fund :This funds aim was to widen the quality, range and ambitions of films being produced in the UK.There
was to separate funds within this The First Feature Film Development Programme which supported film makers and then there
was The Feature Film Development Programme which was a funding programme for filmmakers and producers.
- The New Cinema Fund:This fund was used to help and support film makers who were working outside the mainstream. The
schemes of this fund supported over 100 short films each year.
UK Film Council > regional screen agencies > national screen agencies > Digital Shorts Scheme
- The Premiere Fund:This fund was where the lottery put in £8,000,000 funding which helped and
influenced the idea of British talent which would create a wider and more of an international audience.
These three funds helped support short film making and filmmakers in many different ways.
-The UK Film Council also helped by trying to create a wider audience for non-mainstream films by using distribution and
exhibition e.g.The Prints and Advertising Fund,The Cinema Access Programme,The Digital Fund for Non Theatrical
Exhibition,The Digital Screen Network and Capital funding.All of the following helped and supported the film.
Tuesday, 11 June 13
4. What was the position and role of the BFI prior to the creation of the Film Council?
The 26th of July 2010 the Conservatives said that the Council was to be put an end to.The chief
of the UK Film Council John Woodward stepped down and later the UK Film Council closed on
the 31st March 2011 which then passed down to the British Film Institute (BFI).
In 1983 a Royal Charter was received.This was then brought up to date in 2000, also the newly-
established UK Film Council took control 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.The BFI became the leader of the UK Film Council and took control some people lost
jobs however not many.
How has the position and role of the BFI changed since the recent government decision
to dismantle the UK Film Council?
The BFI was introduced in 1933 and was held responsible for funding etc, it had been around
a lot longer than to when the UK Film council was introduced in 2000 by labour and took
over funds which left the BFI responsible for the film archives, schedule for National Film,
education, Sight and Sound magazine and the museum of moving image theatre.This shows
how the BFI did not handle funding anymore. Later on in 2011 the UK Film Council got
closed off and taken over by the BFI who received there original responsibility back. When
the UK Film Council was in power they tried to make it more democratic and easier for
short films.They also thought that the BFI had made feature films to artistically developed.
They both had different views of funding etc.
Tuesday, 11 June 13
5. 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:
The BFI has three different ways of income, one of the main one is through the publics money which
gets passed through by the Department for Culture, Media and Sport. During 2011-12 the funding by
the public made a total of £20,000,000.
The next important way of income was commercial activity for example BFI London IMAX theatre
and the distribution of DVD’s.
Finally another important way of income was funding grants, sponsorship and donation, the National
Lottery funded grants and private sponsors.
A role and responsibility of the BFI is the distributor for all Lottery funds for film.The UKFC role was
to try and “help make the UK a global hub for film in the digital age, with the world’s most imaginative,
diverse and vibrant film culture, underpinned by a flourishing, competitive film industry,” whereas the
BFI’s role and responsibility is the production and development of the Film Fund.The BFI have
£15,000,000 a year to invest in development, production and completion for feature films.The BFI
responsibility is to support and assist film makers producing there film. In 2012 there was the BFI
Shorts which was managed by Lighthouse which is now closed however currently in 2013 if you
wanted a fund for a short film you could turn to Creative England, Creative Scotland, Film Agency for
Whales, Northern Ireland Screen or Film London.
Tuesday, 11 June 13
6. In what respects and to what extent does the UK Film
Council continue to exist as an institutional and
cultural film body?
The actor and director Noel Clarke told the BBC “ I'm very sad that they're breaking down but the
BFI is going to continue what they do." It shows how in some aspects the UK Film Council continues
to exist as an institutional and cultural film body as all that has changed is the BFI have taken the role
of the UKFC. Show that the UKFC still seize to exist.
http://www.guardian.co.uk/film/2011/apr/01/uk-film-council-british-institute-bfi
Shows the overtake of the UK Film Council to the British
Film Institute and how it is only new leadership and UKFC
exists still through the BFI.
When the BFI took control for funding, the staff from
the UK Film Council transferred to the BFI which
shows us how they do still exist as the same
employment for the jobs within the UKFC has been
moved across to the BFI.This shows the BFI is run
the same way as the UKFC.
When the BFI took over Greg Dyke welcomed the governments plan that instals his organisation at the
helm of the UK film policy. Shows the UKFC still exist as there policies are still existing within the BFI.
EdVaizey announced “ The BFI would take on the bulk of responsibilities previously handled by
the outgoing UK Film Council.This shows that all the BFI was only a new leadership of control
for funding, it shows by them taking on responsibilities already handled by the UKFC it is still
ran the same way and how the UKFC still exist.
http://www.guardian.co.uk/film/2010/nov/29/bfi-uk-film-council-dyke
The UKFC was responsible for distributing lottery money to film-makers based in the UK which the
BFI have now taken responsibility for. It shows that the UKFC do exist its just been handed over to the
BFI. http://www.bbc.co.uk/news/entertainment-arts-12924307
Tuesday, 11 June 13
7. 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 it’s Regional
Investment Fund For England. These were...
1.EM Media - East Midlands
2. Film London - London
3.Northern Film & Media - Newcastle
4. North WestVision & Media -
5. Screen East
6. Screen South - Folkestone
7. Screen West Midlands
8. ScreenYorkshire - Leeds
9. South West Screen
All of the following helped support and provide within
production, training, screen commissions, cinema exhibition,
archives and education.
Examples of some films that were funded when the UK
Film Council was in control...
Screen yorkshire:
Film in 2008 - Boy
Directed by Joe Morris and produced by Gemma
Ferguson and Alex Usborne.
Screen south:
Film in 2008 - Curfew
Directed by Katie Aidley and produced
by Mark Blaney and Jackie Sheppard.
Northern Film and Media:
Film in 2008 - Bus Stop Boogaloo
Written and directed by Gus Hughes and
produced by Siobhan Fenton.
2008-2009 Film slate, funding with digital shorts;
EM Media:
Film in 2008 - Tandem
Written and directed by John and Tom Turrell and
produced by Rachel Dargavel.
Film London:
Film in 2008 - The Rain Horse
Written and directed by Sebastian Godwin and
produced by Hugo Godwin.
South west screen
film in 2009 - September won the short film BAFTA
awards
made by Esther May Campbell and
produced by Stuart Le Marechal
Screen East
Film in 2009 - Shadows and dust
wtitten and directed by Jon Dunleavy and
animated
no producer
Tuesday, 11 June 13
8. How is funding for shorts handled now by the BFI?
It is handled by the Film Fund for shorts which is through the National Lottery funding.
The film fund by the BFI supports filmmakers within the UK. They have £18,000,000 to invest
through the development, production and completion of feature films. By having the support of
the BFI it means you can have all the help you need with developing and creating your film.
In 2012 the BFI Shorts scheme was introduced, it is a scheme which helps and supports
filmmakers by giving them the chance to create feature films and also gives them the chance to
show off their talent and skills. The BFI Shorts is managed by the company Lighthouse.
Budgets of £25,000 - £50,000 in 2012 for live action fiction projects.
A few of the Short Films through the BFI Shorts 2012:
1. The Beast
2. Field
Study
3. Anthony
4. Gutpunch
5. Keeping Up with the Jonese
6. L’Assenza
7. Liam + Lenka
8. Mohammed
9. Orbit Ever After
10. Sea View
11. Sidney
12. SLR
13. The Line
14. The Portrait
15. To Leech
Tuesday, 11 June 13
9. Has funding and support for shorts altered since the
government’s changes to the power structures of the
national film agencies?
When the UKFC ran the funding, depending on
where you live you would turn too...
EM Media - East Midlands
Film London - London
Northern Film & Media - Newcastle
North WestVision & Media
Screen East
Screen South - Folkestone
Screen West Midlands
ScreenYorkshire - Leeds
South West Screen
However when then the BFI took control funding
became different by...
- There is an extreme difference in the
ways of funding between the two. From
going to the UKFC to the BFI’s way of
funding. The BFI i use the management
of Lighthouse which is based in
Brighton for funding.
Screen South only talks about previous
films they have helped and supported
nothing about currently helping Short films.
Tuesday, 11 June 13
10. As a short filmmaker, what funds could you yourself
apply for?
There are 3 funds I could apply for…
- London Borough Film Fund Challenge – It is a challenge for short film makers,
if successful the LBFFC provides production funding, a mentoring and training
programme and help you develop new skills. It offers around £4,000 towards the
production of a short film.
- The Shorts Support Scheme – Is a fund for short filmmakers to represent to
audiences all over the world the UK talent. It also helps and support filmmakers.
- BFI Lighthouse Shorts – It helps and supports filmmakers by giving them the
chance to create feature films and also gives them the chance to show off their
talent and skills.
Tuesday, 11 June 13
11. Different schemes for funding of shorts:
1.Virgin Media Shorts
2.The Shorts Support Scheme
3.London Borough Film Fund Challenge
Part 3Other Funding Sources
Outside of the BFI, are there any other schemes that
exist to help fund short films?
Tuesday, 11 June 13