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 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 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
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 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.
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 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.
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 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 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
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 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.
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 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.
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.
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.
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.
Public service broadcasters aim to both inform and entertain viewers while improving society. The BBC is a prime example, being formed in 1922 with a mandate from John Reith to educate, inform and entertain. Key dates include the start of BBC television in 1936 and the launch of commercial stations like ITV in 1954 and Channel 4 in 1982. Public service broadcasters are largely funded by licenses fees while commercial stations rely on advertising revenue. There is debate around whether the public service broadcasting model remains relevant in today's competitive media landscape.
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 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.
Unit 25 assignment 2 PUBLIC SERVICE BROADCASTVianello1
Public service broadcasting (PSB) refers to the provision of information, education, and entertainment to audiences without commercial objectives. PSB principles established in 1925 aim to provide objective information, cater to niche audiences, and give access to cultural programming important for democracy. However, some argue PSB restricts how channels can operate, cannot cater to all interests, and opinions shown could mislead through bias.
Here are a few key points regarding the impact of increasing global media on local identity:
- Global media brings more outside cultural influences into local areas, which can threaten traditional local customs and ways of life. This causes some loss of distinct local identity.
- At the same time, global media allows local groups to learn about other cultures and identities, promoting cultural exchange and diversity. It gives voice to minority groups.
- Young people tend to be more open to global influences, while older generations often try to preserve traditional local identity. This can cause generational divides.
- Local media still play an important role in representing local communities and interests. Even with more globalization, people still value a sense of belonging to a specific
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.
The document discusses Channel 4's public service remit as defined by the 2003 Communications Act, which states that Channel 4 must provide programming that demonstrates innovation, appeals to a culturally diverse audience, is educational, and has a distinctive character. It asks how the show Black Mirror fits this remit by being innovative in form and making social commentary. It also asks why Black Mirror was suited to Channel 4 rather than other channels, considering elements like representation, genre, and how it aligns with Channel 4's mandate.
The British Broadcasting Corporation (BBC) is the largest broadcaster in the world by number of employees, with over 20,000 staff. It is established under a Royal Charter and funded by an annual television licence fee. The BBC started daily radio transmissions in 1922 and was restructured as a public corporation in 1927, becoming the BBC known today, though television was beginning to emerge as a new technology.
The document discusses options for releasing a short film about young people struggling with drugs. It suggests the film could air on television as an interstitial or be shown online to raise awareness of the issues. However, traditional television outlets in the UK rarely acquire non-commissioned shorts. The BBC Film Network is identified as an online platform that exhibits short films and would be well suited to a film dealing with drugs themes due to its age restrictions.
The document discusses various aspects of ownership and funding in the UK television and global film industries. It addresses public service broadcasting responsibilities like education and representing minority groups. It also covers different types of media organizations like public service companies, private commercial companies, and multinational conglomerates. The rest of the document provides examples of these concepts and discusses funding models for organizations like the BBC, ITV, Channel 4, and BSkyB through mechanisms like licensing fees, advertising, subscriptions and merchandising.
The document defines several media industries and provides key details about each. It discusses the film industry, defining it as involving making and distributing movies. It lists some key film roles like cameraman and producer. The British Board of Film Classification is provided as the governing body. Disney is presented as a case study, describing its founding, areas of business, and ownership. The same level of detail is then provided about the television, radio, print, and online industries.
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 document discusses genres that could be used in a film opening to appeal to different audiences. It finds that the zombie genre incorporates elements of horror, disaster, and thriller genres. This means the film could appeal to an audience over 16 years old. Combining these three genres could reach 113% of the population interested in hybrid genres. However, zombies are considered a niche sub-genre, so specific data on audience preferences is not available. Preferences are linked to demographics, with the primary audience as males over 35 and females under 35. Including elements from different genres could create a successful opening, but disaster films have lower ratings in Britain so that genre requires careful use.
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.
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.
Public service broadcasters aim to both inform and entertain viewers while improving society. The BBC is a prime example, being formed in 1922 with a mandate from John Reith to educate, inform and entertain. Key dates include the start of BBC television in 1936 and the launch of commercial stations like ITV in 1954 and Channel 4 in 1982. Public service broadcasters are largely funded by licenses fees while commercial stations rely on advertising revenue. There is debate around whether the public service broadcasting model remains relevant in today's competitive media landscape.
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 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.
Unit 25 assignment 2 PUBLIC SERVICE BROADCASTVianello1
Public service broadcasting (PSB) refers to the provision of information, education, and entertainment to audiences without commercial objectives. PSB principles established in 1925 aim to provide objective information, cater to niche audiences, and give access to cultural programming important for democracy. However, some argue PSB restricts how channels can operate, cannot cater to all interests, and opinions shown could mislead through bias.
Here are a few key points regarding the impact of increasing global media on local identity:
- Global media brings more outside cultural influences into local areas, which can threaten traditional local customs and ways of life. This causes some loss of distinct local identity.
- At the same time, global media allows local groups to learn about other cultures and identities, promoting cultural exchange and diversity. It gives voice to minority groups.
- Young people tend to be more open to global influences, while older generations often try to preserve traditional local identity. This can cause generational divides.
- Local media still play an important role in representing local communities and interests. Even with more globalization, people still value a sense of belonging to a specific
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.
The document discusses Channel 4's public service remit as defined by the 2003 Communications Act, which states that Channel 4 must provide programming that demonstrates innovation, appeals to a culturally diverse audience, is educational, and has a distinctive character. It asks how the show Black Mirror fits this remit by being innovative in form and making social commentary. It also asks why Black Mirror was suited to Channel 4 rather than other channels, considering elements like representation, genre, and how it aligns with Channel 4's mandate.
The British Broadcasting Corporation (BBC) is the largest broadcaster in the world by number of employees, with over 20,000 staff. It is established under a Royal Charter and funded by an annual television licence fee. The BBC started daily radio transmissions in 1922 and was restructured as a public corporation in 1927, becoming the BBC known today, though television was beginning to emerge as a new technology.
The document discusses options for releasing a short film about young people struggling with drugs. It suggests the film could air on television as an interstitial or be shown online to raise awareness of the issues. However, traditional television outlets in the UK rarely acquire non-commissioned shorts. The BBC Film Network is identified as an online platform that exhibits short films and would be well suited to a film dealing with drugs themes due to its age restrictions.
The document discusses various aspects of ownership and funding in the UK television and global film industries. It addresses public service broadcasting responsibilities like education and representing minority groups. It also covers different types of media organizations like public service companies, private commercial companies, and multinational conglomerates. The rest of the document provides examples of these concepts and discusses funding models for organizations like the BBC, ITV, Channel 4, and BSkyB through mechanisms like licensing fees, advertising, subscriptions and merchandising.
The document defines several media industries and provides key details about each. It discusses the film industry, defining it as involving making and distributing movies. It lists some key film roles like cameraman and producer. The British Board of Film Classification is provided as the governing body. Disney is presented as a case study, describing its founding, areas of business, and ownership. The same level of detail is then provided about the television, radio, print, and online industries.
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 document discusses genres that could be used in a film opening to appeal to different audiences. It finds that the zombie genre incorporates elements of horror, disaster, and thriller genres. This means the film could appeal to an audience over 16 years old. Combining these three genres could reach 113% of the population interested in hybrid genres. However, zombies are considered a niche sub-genre, so specific data on audience preferences is not available. Preferences are linked to demographics, with the primary audience as males over 35 and females under 35. Including elements from different genres could create a successful opening, but disaster films have lower ratings in Britain so that genre requires careful use.
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 discusses several key issues in the modern film industry, including media ownership and conglomeration, cross-media synergies in production and marketing, technological changes in distribution and consumption, and the global dominance of Hollywood. It notes that media conglomerates own film studios, which allows them to promote films across their various subsidiaries. New technologies like digital downloading and streaming have increased accessibility but also piracy risks, while social media is an important marketing tool. Technological convergence benefits both audiences and institutions by integrating multiple functions into single devices and platforms. However, Hollywood's global influence raises issues around national cultural identity and values for audiences in countries like Britain.
P:\media studies\as level media\film industry\working title\how film makes it...ecclestona
A film aims to make money at different stages of its commercial lifecycle, including theatrical exhibition, home video/DVD, television, and international distribution deals. Most films recoup their budgets through DVD sales. The more a film is distributed through different channels and territories, the more revenue it can generate for producers and distributors. However, many independent British films struggle to earn back their production costs from theatrical release alone.
Revision piracy, ownership, the digital age, proliferation of hardwaresandraoddy2
The document discusses how piracy has been impacted by technological changes like digital media and the internet, which have made illegally distributing and accessing copyrighted content much easier. It also examines how these changes have challenged the traditional dominance of large Hollywood studios over the film industry and provided new opportunities for independent and low-budget films. Finally, it explores some strategies media companies have used to combat piracy in the digital age through things like simultaneous worldwide releases and digital encryption.
The Dark Knight was a major Hollywood blockbuster production by Warner Bros. that utilized both traditional and viral marketing techniques. An extensive viral marketing campaign that resembled an alternate reality game was launched 18 months before the film's release and involved puzzles, websites, and real-world activities that engaged fans. The film had massive commercial success due to this multifaceted marketing approach along with its wide theatrical distribution to over 4,300 theaters domestically, breaking previous records.
The Dark Knight - Production Marketing and AudienceElle Sullivan
The Dark Knight had an elaborate viral marketing campaign to promote the film. Warner Bros. created fake websites related to the plot and characters that fans could interact with online. They also held real-world scavenger hunts where fans searched cities for clues. This generated buzz and encouraged fans to share information about the film through word-of-mouth and online discussions. The viral campaign helped The Dark Knight become a box office success and one of the most profitable superhero films ever made.
Glossary of Terminology for AS Media Studies G322 Audiences and InstitutionsMr Lamb
The document defines various key terms related to film audiences and institutions, including different types of film screenings and releases, the major film studios and distribution models, and different stages of film production and distribution. Advance screenings are used before official release to get feedback or build anticipation. The Big Six refers to the six major Hollywood studios that dominate the industry. Distribution and exhibition refer to marketing films to audiences and showing films in theaters.
AS G322 revision booklet pt1 (Film Industry)Belinda Raji
This document provides an overview of key concepts for the AS G322 exam on media studies, focusing on section B. It discusses media institutions and how they produce and distribute media to audiences. It also examines how digital technologies and convergence have transformed audiences from passive receivers to active participants (prosumers). Students are advised to choose a contemporary film institution for their case study and analyze its relationships with production, distribution, and audience consumption. Competing views are presented on whether institutions or audiences wield more influence over what media gets made and distributed.
1) The document provides guidance on how to structure responses for Section A and Section B of the G322 AS Media exam.
2) For Section A on TV drama, it advises to focus the response on analyzing how technical elements construct representations rather than just describing them.
3) For Section B on film institutions, it recommends discussing the processes of production, distribution, and exhibition in British film by referencing specific case studies and films. Key words related to these processes are defined.
The document discusses media ownership in the film industry. It focuses on ownership of the major Hollywood studios, known as the Big Six, which are subsidiaries of large media conglomerates. This high level of concentration of ownership allows bigger budgets but can also lead to biases and synergy between related products. The document also examines ownership in the UK film industry, where American films dominate the box office, and how independent British productions like "This is England" reflect aspects of British culture.
A revision book to help students embed their understanding of the key theoretical perspectives for A2 Media Studies, including the new topic 'Identities & the Media'.
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 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.
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.
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 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 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.
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 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 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 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 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 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 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.
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.
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.
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.
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 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 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 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.
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.
From Teacher to OnlyFans: Brianna Coppage's Story at 28get joys
At 28, Brianna Coppage left her teaching career to become an OnlyFans content creator. This bold move into digital entrepreneurship allowed her to harness her creativity and build a new identity. Brianna's experience highlights the intersection of technology and personal branding in today's economy.
Unveiling Paul Haggis Shaping Cinema Through Diversity. .pdfkenid14983
Paul Haggis is undoubtedly a visionary filmmaker whose work has not only shaped cinema but has also pushed boundaries when it comes to diversity and representation within the industry. From his thought-provoking scripts to his engaging directorial style, Haggis has become a prominent figure in the world of film.
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Christian Louboutin is celebrated for his innovative approach to footwear design, marked by his trademark red soles. This in-depth look at his life and career explores the origins of his creativity, the milestones in his journey, and the impact of his work on the fashion industry. Learn how Louboutin's bold vision and dedication to excellence have made his brand synonymous with luxury and style.
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Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
At Digidev, we are working to be the leader in interactive streaming platforms of choice by smart device users worldwide.
Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
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Top IPTV UK Providers of A Comprehensive Review.pdfXtreame HDTV
The television landscape in the UK has evolved significantly with the rise of Internet Protocol Television (IPTV). IPTV offers a modern alternative to traditional cable and satellite TV, allowing viewers to stream live TV, on-demand videos, and other multimedia content directly to their devices over the internet. This review provides an in-depth look at the top IPTV UK providers, their features, pricing, and what sets them apart.
Everything You Need to Know About IPTV Ireland.pdfXtreame HDTV
The way we consume television has evolved dramatically over the past decade. Internet Protocol Television (IPTV) has emerged as a popular alternative to traditional cable and satellite TV, offering a wide range of channels and on-demand content via the internet. In Ireland, IPTV is rapidly gaining traction, with Xtreame HDTV being one of the prominent providers in the market. This comprehensive guide will delve into everything you need to know about IPTV Ireland, focusing on Xtreame HDTV, its features, benefits, and how it is revolutionizing TV viewing for Irish audiences.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
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.
Wednesday, 26 June 13
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.
Wednesday, 26 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.
Wednesday, 26 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.
Wednesday, 26 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
Wednesday, 26 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
Wednesday, 26 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
Wednesday, 26 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.
Wednesday, 26 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.
Wednesday, 26 June 13
11. Different schemes for funding of shorts:
1.Virgin Media Shorts - Provides services to become ‘a better film maker’ by 5 sessions:
The writer / director dynamic, From Script to Screen, Making your film successful, Case
Study: Virgin Media Shorts winner Luke Snellin and Beyond Shorts : from Short Film to
feature.
2.The Shorts Support Scheme ( British Council) - Presents UK film talent to audiences
around the world. It includes the promotion of the high standard shorts within there
programming contacts. Work with the British Council offices in 110 countries to make easy
access for screenings to make the UK short films an international audience. It offers a Travel
grant Fund so short film makers can represent there work internationally.
3.London Borough Film Fund Challenge - It is linked with the BFI however is a borough film
fund within Redbridge, Haringey and Islington, Lambeth and Southwark and finally
Wandsworth and Kensington and Chelsea. Its aim is to recognise short film talent and help
support the shorts. It is a fund which is open to the whole of London which provides
production funding and a mentoring and training programme.
Part 3
Outside of the BFI, are there any other schemes that
exist to help fund short films?
Wednesday, 26 June 13
12. Part 4Festivals
Background information about the kind of festivals that short filmmakers can apply
to:
- Edinburgh International Film Festival (Scotland, UK)
-Camberidge Film Festival (UK)
- The Times BFI London Film Festival (UK)
- Encounters Short Film Festival (Bristol, UK)
- Seagate Foyle Film Festival (Derry, UK)
- The Birds EyeView Festival (UK)
- Britdoc (Oxford, UK)
- Camberidge International Super 8 Festival (UK)
- London Lesbian and Gay Film Festival (UK)
- onedotzero (London, UK)
- Sheffield Doc/Fest (UK)
- Raindance Film Festival (UK)
- London Short Film Festival (UK)
- Manchester International Film Festival (UK)
- Leeds International Film Festival (UK)
- Soho Shorts (UK)
-The festivals recognise talent of Short film
makers.
- Some of the short film festivals are for a
particular genre so your film has to fit into what
the festival applies.
-The Britdoc festival is only for documentaries,
this shows the different genres film makers can
apply to but also the audience for this festival is
likely to be for people interested in social events
etc.
-The Birds Eye View Festival audience was
68% female aimed at women film makers, which
shows a film maker entering there film needs to
recognise the audience of the festival they are
selecting as it will either increase/decrease your
chance of making it through to the festival.
Wednesday, 26 June 13
13. Which are feature film festivals that have important
shorts sections?
The Leeds film festival is a feature
film festival but shows an interest
to short films.
The London Film Festival is a feature film
festival but also has a section for short
films.
1.
2.
3.
The Edinburgh international film
festival is a feature one however
has a shorts section.
Wednesday, 26 June 13
14. How do the festivals market and promote themselves?
These 3 festivals market and promote themselves with logos:
The Leeds film festival use the
simple colours black and white, the
logo aims its market at middle aged
people and above.The logo doesn’t
use vivid or primary colours which
we no young people appeal to.The
logo represents clarity and is aimed
for a sophisticated audience.
They use Twitter and
Facebook pages to promote
and market the festival.
The Edinburgh film festival use the
sophisticated colour black however
use the colour red which
represents energy, warmth and
excitement.They market there
festival to a wider and broad
audience as they use a vivid colour
which attracts a younger audience
as well as black which attracts a
sophisticated audience.
The BFI London Film
Festival is marketed and
promoted at an intellectual
and refined audience, this is
shown through the logo, the
colours black and white
show a worldly and cultural
audience. It is not aimed at a
young audience.
They useYoutube,
Facebook and Twitter to
promote an market there
festival.
Wednesday, 26 June 13
15. Why is it important to be screened at one?
The International Federation of Film Producers Associations picked the following
festivals as the ‘big ones’:
- Cannes Film Festival
-Venice Film Festival
- Berlinale Film Festival
- Toronto International Film Festival
- The Sundance Film Festival
- Locarno International Film Festival
- KarlovyVary International Film Festival
- Melbourne International Film Festival
- Edinburgh International Film Festival
These festivals are very big so if your film got
screened it is very important as producers could see
your film and notice talent and want to work with
you in the future, critics could be there and they can
write a review into a magazine and if its a good review
people will recognise your film however if not could
affect your film.There are a panel of judges there who
can reward the films so it is important as if you won it
can lead to a success of future events.
Who attends them?
- Panel of Judges
- Producers looking for talent
- Critics
- The press
- The public
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16. How are they supported?
BFI London Film Festival are supported by...
The National Lottery:
DCMS:
Explores partnerships with broadcast
partners within the BFI. Raise broadcasters
for the BFI.
Control fundings for the BFI for the UK
filmmakers.The fund is for development,
production and completion of feature films.
Leeds International Film Festival are supported by...
Wednesday, 26 June 13
17. What have you noticed about the structure/style of the
sites? The style of the layout of the BFI London Film
Festival is very organised. Using the main
colour black creates a sophisticated and
professional look. The structure used is very
clear, most of the festivals i have looked at
straight away go to the home page of the
festival as shown within this festival site.
At the top of the site it has all the different
options you can click on which gives you
information of previous and future events and
is the main information you need to know.
The style of the layout of the Leeds International Film Festival
shows a professional, educated site. It shows the audience created
for this site have a high knowledge about film as straight away on
the home page there is knowledge shown.The style of using
white, black and red colours creates an intellectual audience.The
style clearly represents the audience is middle aged and above as
does not have a style which appeals to a younger audience.The
structure is very clear and has all the information you need to
know about the festival. Compared to the BFI London Film
Festival shown above it has a variety of things going on within the
home page.
Wednesday, 26 June 13
18. What are the other key national festivals for short films?
- Edinburgh International Film Festival (Scotland, UK)
-Camberidge Film Festival (UK)
- The Times BFI London Film Festival (UK)
- Encounters Short Film Festival (Bristol, UK)
- Seagate Foyle Film Festival (Derry, UK)
- The Birds EyeView Festival (UK)
- Britdoc (Oxford, UK)
- Camberidge International Super 8 Festival (UK)
- London Lesbian and Gay Film Festival (UK)
- onedotzero (London, UK)
- Sheffield Doc/Fest (UK)
- Raindance Film Festival (UK)
- London Short Film Festival (UK)
- Manchester International Film Festival (UK)
- Leeds International Film Festival (UK)
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19. What are the key international festivals for short films?
- Clermont-Ferrand International Short Fil Festival - (France)
- Sundance Film Festival - (USA)
- Palm Springs International Film Festival - (USA)
- International Film Festival Rotterdam - (Netherlands)
- Berlinale International Film Festival - (Germany)
- Tampere International Short Film Festival - (Finland)
- Tribeca Film Festival - (USA)
- Cannes International Film Festival - (France)
- Oberhausen International Short Film Festival - (Germany)
- International Short Film Festival Hamburg (Germany)
- Annecy International Animated Film Festival (France)
- Capalbio Cinema Short Film Festival (Italy)
-Vila do Conde International Short Film Festival (Portugal)
- KarlovyVary International Film Festival (Czech Republic)
- Melbourne International Film Festival (Australia)
- International Animation Festival (Japan)
-Venice Film Festival (Italy)
- Toronto International Film Festival (Canada)
- Festival do Rio - Rio de Janeiro International Film Festival (Brazil)
- NewYork Film Festival (USA)
- Corona Cork Film Festival (Ireland)
- Zagreb Film Festival (Croatia)
- Rio de Janeiro International Short Film Festival (Brazil)
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20. Find out about any national or international student film
festivals:
- No Limits Student Film Festival (UK)
- Watersprite - The Cambridge International Student Film Festival (UK)
- ISEFF International Student Ethnographic Film Festival (UK)
- British Student Film Festival (UK)
- No Student Film Festival Awards (UK)
- International Student Film Festival Hollywood (America, Hollywood)
- First Step Film Festival (Albania)
- Lola Kenya Screen (Africa, Kenya)
- African Student Film Festival ( Africa, Nigeria)
- International students Film Festival (Argentina)
- Melbourne International Film Festival (Australia)
- SPEAK UP! International Student Film Festival (Cananda)
-Youngcuts Film Festival (Canada)
- Faludi InternationalYouth Film Festival and Photo Competition (Hungary)
Wednesday, 26 June 13
21. In recent years there has been exponential growth in the number of online short film
festivals. Find and investigate some (using the above criteria). What advantages/
disadvantages do such festivals have when compared to their traditional theatrical
counterparts?
- nsi short online film festival (Canada)
- Tribeca online Festival (USA)
- Schweppes online film festival (Australia)
- SikhNetYouth Online Film Festival (USA)
Online Short Film Festivals: Traditional Theatrical Festivals:
One advantage the online festivals have is that all you have to do is enter online if you have
accessibly to a computer which is an easier way than to travel to a festival in Leeds etc.
Another advantage is there is usually no submission fee for online festivals.
A disadvantage of an online festival is you don't get the exciting feeling of being at the festival with
the big screens etc.The environment is completely different to actually going to a festival.Another
disadvantage is that the internet can go down while your in the middle of a film but also that not
everyone has easy access to a computer.
-Camberidge Film Festival (UK)
- The Times BFI London Film Festival (UK)
- KarlovyVary International Film Festival (Czech
Republic)
- Melbourne International Film Festival (Australia)
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