1. The film industry involves three stages: production, distribution, and exhibition. Production involves creating the film, distribution gets the film to audiences, and exhibition is when audiences view the film.
2. The document discusses funding methods for films, including studio funding, government funding, presales, and crowdfunding. It also discusses the differences between the Hollywood and British film industries.
3. The Hollywood system relies on large conglomerates and aims to produce big-budget, high-concept films to appeal to global audiences. The British industry is smaller and produces more low-budget, socially-focused films that target domestic audiences.
The document discusses the film industry and provides details about the production and distribution stages. It focuses on the films Straight Outta Compton and I, Daniel Blake as case studies. Production involves creating the film and is handled by a production company. It notes that Straight Outta Compton had a larger budget since it was produced by a major Hollywood studio, while I, Daniel Blake likely had to use public funding sources common for British films. The distribution stage gets the completed film in front of audiences through theatrical release, home media, or digital distribution.
The document discusses the film industry and provides details about the production and distribution stages. It focuses on the films Straight Outta Compton and I, Daniel Blake as case studies. Production involves creating the film and is handled by a production company. It notes that Straight Outta Compton had a larger budget since it was produced by a major Hollywood studio, while I, Daniel Blake likely had to use public funding sources common for British films. The distribution stage gets the completed film in front of audiences.
This document provides information about studying British film for AS Media Studies, including key learning outcomes and focus areas. It discusses what makes a film British and provides examples of British films that have been nominated for awards. It also covers the requirements of the exam, finance and funding of British films, the roles of production companies and distributors, and targeting audiences. Case studies are used to illustrate concepts around the production and distribution of independent British films.
The document provides an overview of the history and development of the film industries in Britain and the United States. It discusses how the film industries originated in both countries in the late 19th/early 20th centuries with pioneers like the Lumiere brothers and Thomas Edison. It then covers major aspects of how the industries operate including funding models, budgets, audiences, ownership structures, and technological changes. Key institutional players like major Hollywood studios and British production companies like Working Title are also mentioned.
A Field in England was a low-budget British film directed by Ben Wheatley that was financed by Film4 and distributed simultaneously across multiple platforms including theaters, VOD, DVD, and television on Film4. The unconventional release strategy was a success, with the film performing well above expectations across all platforms and its marketing campaign effectively building momentum around the film. Its target audience of 18-35 year old cinephiles engaged well with the film both in theaters and online.
The document discusses media ownership in the film industry. It notes that a small number of large media conglomerates own most film studios, TV stations, record labels, and other media outlets. These conglomerates have significant financial resources to invest in film production and can market films across their various subsidiary companies using synergy. However, some independent films are still produced outside the major studios in Britain, often partnering with organizations like Film 4 or the BBC for funding and distribution. The concentration of media ownership in only a few large Western conglomerates is increasingly dominating the global media market.
The film A Field in England was produced on a very low budget of £300,000 by independent British production company Rook Films. It utilized new technologies and a non-traditional distribution strategy, being simultaneously released in UK cinemas, free-to-air television, DVD, and video-on-demand. This innovative approach aimed to maximize audience reach and profits. Initial results were positive, with solid cinema box office and thousands of digital/DVD purchases in the first week. Audiences responded positively overall to having increased access options.
This document discusses institutions, audiences, ownership, convergence, and new models of media consumption. It addresses how media institutions are businesses seeking profit and how ownership affects their output. It also describes how convergence has merged technologies and industries and allowed audiences to become producers through interaction with media. Finally, it introduces the concepts of audiences fragmenting across niche interests and new models of "pull media" where consumers decide what and how they engage with media content.
The document discusses the film industry and provides details about the production and distribution stages. It focuses on the films Straight Outta Compton and I, Daniel Blake as case studies. Production involves creating the film and is handled by a production company. It notes that Straight Outta Compton had a larger budget since it was produced by a major Hollywood studio, while I, Daniel Blake likely had to use public funding sources common for British films. The distribution stage gets the completed film in front of audiences through theatrical release, home media, or digital distribution.
The document discusses the film industry and provides details about the production and distribution stages. It focuses on the films Straight Outta Compton and I, Daniel Blake as case studies. Production involves creating the film and is handled by a production company. It notes that Straight Outta Compton had a larger budget since it was produced by a major Hollywood studio, while I, Daniel Blake likely had to use public funding sources common for British films. The distribution stage gets the completed film in front of audiences.
This document provides information about studying British film for AS Media Studies, including key learning outcomes and focus areas. It discusses what makes a film British and provides examples of British films that have been nominated for awards. It also covers the requirements of the exam, finance and funding of British films, the roles of production companies and distributors, and targeting audiences. Case studies are used to illustrate concepts around the production and distribution of independent British films.
The document provides an overview of the history and development of the film industries in Britain and the United States. It discusses how the film industries originated in both countries in the late 19th/early 20th centuries with pioneers like the Lumiere brothers and Thomas Edison. It then covers major aspects of how the industries operate including funding models, budgets, audiences, ownership structures, and technological changes. Key institutional players like major Hollywood studios and British production companies like Working Title are also mentioned.
A Field in England was a low-budget British film directed by Ben Wheatley that was financed by Film4 and distributed simultaneously across multiple platforms including theaters, VOD, DVD, and television on Film4. The unconventional release strategy was a success, with the film performing well above expectations across all platforms and its marketing campaign effectively building momentum around the film. Its target audience of 18-35 year old cinephiles engaged well with the film both in theaters and online.
The document discusses media ownership in the film industry. It notes that a small number of large media conglomerates own most film studios, TV stations, record labels, and other media outlets. These conglomerates have significant financial resources to invest in film production and can market films across their various subsidiary companies using synergy. However, some independent films are still produced outside the major studios in Britain, often partnering with organizations like Film 4 or the BBC for funding and distribution. The concentration of media ownership in only a few large Western conglomerates is increasingly dominating the global media market.
The film A Field in England was produced on a very low budget of £300,000 by independent British production company Rook Films. It utilized new technologies and a non-traditional distribution strategy, being simultaneously released in UK cinemas, free-to-air television, DVD, and video-on-demand. This innovative approach aimed to maximize audience reach and profits. Initial results were positive, with solid cinema box office and thousands of digital/DVD purchases in the first week. Audiences responded positively overall to having increased access options.
This document discusses institutions, audiences, ownership, convergence, and new models of media consumption. It addresses how media institutions are businesses seeking profit and how ownership affects their output. It also describes how convergence has merged technologies and industries and allowed audiences to become producers through interaction with media. Finally, it introduces the concepts of audiences fragmenting across niche interests and new models of "pull media" where consumers decide what and how they engage with media content.
The document discusses several aspects of how institutions target national audiences in British cinema, including:
1) There are different categories of British films based on financing and personnel. Many popular British films are co-productions with American financial backing.
2) Of the top 10 highest grossing films in the UK in 2014, several were American blockbusters while only a few could be considered truly British.
3) Hollywood studios effectively target global and domestic markets, including the UK, through blanket marketing strategies and release timing.
4) However, some successful British films have found both domestic and international audiences with backing from British institutions like Film4.
This document discusses factors influencing the production, distribution, and reception of the 2013 film "The World's End". It was produced by British companies Working Title Films and Big Talk Productions but had US backing from Universal Pictures/Focus Features. This allowed a $20 million budget and global distribution. Previous films in the "Cornetto Trilogy" franchise were successful, building audience expectations. The film benefited from technological convergence across platforms for home release revenues after its box office success.
The document discusses the distribution of the films Straight Outta Compton and I, Daniel Blake. It provides information on what film distribution entails, such as releasing and marketing films. For Straight Outta Compton, Universal Pictures distributed the film internationally using a saturated release pattern. I, Daniel Blake was distributed internationally through various smaller distributors suited for its independent and niche audience. Both films used platform release patterns to build audiences through word-of-mouth in key territories.
The document discusses key concepts related to the film industry, including the three main sectors of production, distribution, and exhibition. It defines important terms like horizontal and vertical integration, convergence, and synergy. It provides guidance on preparing for an exam on institutions and audiences, focusing on understanding the relationships between media organizations and their target audiences. Students are instructed to choose a media industry for a case study analysis and potential exam questions may address the effects of new technologies on institutions and audiences or the relationship between institutions and audiences in a media industry.
Film distribution involves getting films from production to exhibition through deals with cinemas, television networks, and other outlets. Major film distributors in the UK control much of the industry and prioritize distributing large Hollywood blockbusters. This makes it difficult for smaller distribution companies to get their films shown widely, as they have fewer resources for prints and promotion. The digital age has also made film distribution more challenging for independent distributors.
Impact of Media Ownership on Products AvailableHeworthMedia1
Media ownership has a great impact on the range of products available to audiences in the film industry. Major media conglomerates like Warner Bros. and Disney, which own film studios as well as distribution channels like cinemas and music labels, can produce and widely promote a large number of films. They have the financial resources to invest heavily in large-budget blockbusters and market them across their various properties. In contrast, small independent film companies have more limited financing and distribution options, so they produce far fewer films that are often aimed at niche audiences. The dominance of large conglomerates shapes the film industry and market in favor of big-budget Hollywood productions.
This document discusses key concepts for a media studies exam focusing on the film industry, including:
1. Exam questions may focus on areas like media ownership, synergy, new technologies, or audiences.
2. Media conglomerates own film studios, TV stations, music labels, and other assets, allowing them to synergistically market and distribute films.
3. Independent films often have smaller budgets than major studio films but can still find success through partnerships with larger distributors.
Section B Institutions and Audiences Revision Guidejphibbert
The document discusses several key aspects of the media industries:
1. Media ownership is highly concentrated among a small number of major global conglomerates like Disney and News Corp, creating an oligopoly in the film industry. The "Big Six" studios dominate global box office revenues.
2. These studios benefit greatly from cross-media convergence and synergy between their various subsidiaries. Disney is a prime example, maximizing revenue through properties like Marvel and franchises like Avengers across film, TV, games and merchandise.
3. The British film industry is much smaller and independent productions have less resources, relying more on funding from organizations like the BFI. They also face challenges in distribution dominated by the major US studios.
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.
A Field in England is a 2013 British black-and-white film directed by Ben Wheatley and produced by Film 4.0. It had a very small budget of £300,000 which was funded through Film 4.0, Rook Films, and the BFI. The film was shot in only 12 days with a small cast. It featured an unconventional narrative, setting, themes, and genre. Significantly, it was released simultaneously in cinemas, DVD/Blu-ray, download, VOD, and the Film 4 channel, representing Film 4.0's modern approach to film distribution and exhibition.
The document provides information about FilmFour, a British film production company. It discusses some of FilmFour's most successful films like Trainspotting and Four Weddings and a Funeral. It also addresses issues like representing diversity in British cinema, competing with major Hollywood studios, and adapting to changes in film consumption and technology.
This document provides an overview of the British film production company Working Title Films. It discusses how Working Title Films was founded in 1984 and began as a small, independent production company co-producing films with Channel 4. It achieved success with films like My Beautiful Laundrette (1985) but struggled financially. Working Title then began pursuing co-productions with American studios like Universal to gain financial stability and access to international markets. This template of British films with American stars became Working Title's model and led to massive commercial hits like Four Weddings and a Funeral (1994). However, not all of Working Title's films are successful and some have lost money. The document examines both the successes and failures of Working Title's approach over the
OCR MEDIA - G322 Section B Revision Guide ppttessiemedia
The document discusses the British film Trainspotting, describing it as a gritty and realistic portrayal of heroin addiction in Scotland that was both critically acclaimed and commercially successful. It explores themes of urban poverty and the dark side of drug culture while also being fascinating to audiences. While some accused it of glamorizing drug use, it was praised for its social realism in representing British youth subcultures of the time. The film was a hit in both Britain and the United States.
1. The exam questions may focus on various areas related to the film industry such as media ownership, synergy and cross-media convergence, new media technologies, how major industries target audiences, and personal media consumption.
2. Large media conglomerates own film studios, TV stations, record labels, magazines, newspapers, books, and internet platforms, allowing them to synergistically market and distribute their films across multiple subsidiaries. However, some independent films are produced outside the major studios with smaller budgets.
3. Technological convergence through devices like smartphones, tablets, laptops, and game consoles, as well as services like video on demand, have changed how audiences consume media and given independents new distribution opportunities
The document discusses media ownership in the film industry. It compares two film trailers, John Carter and Submarine, in terms of their production, budgets, and box office returns. It then discusses how media ownership affects the film industry through production, distribution, marketing and consumption. The American film industry is dominated by six major studios that are subsidiaries of large media conglomerates, allowing them to take bigger risks. British films often rely on co-productions with multiple companies and television studios. The document provides examples of how films appeal to different audiences and discusses issues around media ownership.
Working Title Films (WTF) appears independent but is owned by Universal Pictures, who distributes their films. In 1999, WTF signed a $600 million deal with Universal. WTF is a small company with 42 staff but co-owners Eric Fellner and Tim Bevan have been able to greenlight any film they choose. For the film Atonement, WTF solely produced it but it was distributed by 8 different companies. While the film was shot in England with a British story and cast, WTF is owned by Universal, so it is unclear if it should be considered a British film.
The document provides information about the OCR AS Media Studies exam, including details about the structure, content, and marking scheme. It discusses the 2 hour exam consisting of Section A focusing on TV drama representation from a video extract, and Section B on institutions and audiences. It also lists example exam questions that may be asked and what topics students are expected to know about regarding contemporary media issues, institutions, technologies, and audiences.
Question 3 – what kind of media institution might distribute your media produ...Katie Wright
A Hollywood conglomerate would be an unsuitable distributor for the film "Tracks of Damnation" because they aim for large global audiences with high budget films, whereas "Tracks of Damnation" is a low budget British independent film with a niche national audience. A UK distributor would be more appropriate as they invest in Category A British films and have a target niche national audience. Funding options in the UK include Film4, the National Lottery, or the BFI.
Dredd and some stuff stolen from another teacherMr Smith
The document discusses the British film industry. It identifies key organizations that support the industry, such as the British Film Institute which promotes British film culture and heritage. It also discusses major British production companies and how a film qualifies as a British film. The document examines audience types for films and how British films attract both domestic and global audiences. It provides box office figures for the industry and analyzes the 2012 film Dredd.
The document discusses FilmFour, a British film production company. It provides background on FilmFour, describing some of its successful and groundbreaking films from the 1980s-2000s like My Beautiful Laundrette, Trainspotting, and Four Weddings and a Funeral. The summary also notes that FilmFour faces challenges competing for cinema space with large Hollywood studios and lacks distribution clout.
This document discusses key concepts related to media institutions and the film industry. It begins by defining terminology such as institution, codes and conventions, and ideology. It then focuses on the film industry, discussing the patterns of production, distribution, exhibition and consumption. It notes the contemporary trends of digital distribution and their impact. Finally, it discusses how a study of a production company like Film 4 could link to issues of media ownership, audiences, and practices in the contemporary media landscape.
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 how institutions target national audiences in British cinema, including:
1) There are different categories of British films based on financing and personnel. Many popular British films are co-productions with American financial backing.
2) Of the top 10 highest grossing films in the UK in 2014, several were American blockbusters while only a few could be considered truly British.
3) Hollywood studios effectively target global and domestic markets, including the UK, through blanket marketing strategies and release timing.
4) However, some successful British films have found both domestic and international audiences with backing from British institutions like Film4.
This document discusses factors influencing the production, distribution, and reception of the 2013 film "The World's End". It was produced by British companies Working Title Films and Big Talk Productions but had US backing from Universal Pictures/Focus Features. This allowed a $20 million budget and global distribution. Previous films in the "Cornetto Trilogy" franchise were successful, building audience expectations. The film benefited from technological convergence across platforms for home release revenues after its box office success.
The document discusses the distribution of the films Straight Outta Compton and I, Daniel Blake. It provides information on what film distribution entails, such as releasing and marketing films. For Straight Outta Compton, Universal Pictures distributed the film internationally using a saturated release pattern. I, Daniel Blake was distributed internationally through various smaller distributors suited for its independent and niche audience. Both films used platform release patterns to build audiences through word-of-mouth in key territories.
The document discusses key concepts related to the film industry, including the three main sectors of production, distribution, and exhibition. It defines important terms like horizontal and vertical integration, convergence, and synergy. It provides guidance on preparing for an exam on institutions and audiences, focusing on understanding the relationships between media organizations and their target audiences. Students are instructed to choose a media industry for a case study analysis and potential exam questions may address the effects of new technologies on institutions and audiences or the relationship between institutions and audiences in a media industry.
Film distribution involves getting films from production to exhibition through deals with cinemas, television networks, and other outlets. Major film distributors in the UK control much of the industry and prioritize distributing large Hollywood blockbusters. This makes it difficult for smaller distribution companies to get their films shown widely, as they have fewer resources for prints and promotion. The digital age has also made film distribution more challenging for independent distributors.
Impact of Media Ownership on Products AvailableHeworthMedia1
Media ownership has a great impact on the range of products available to audiences in the film industry. Major media conglomerates like Warner Bros. and Disney, which own film studios as well as distribution channels like cinemas and music labels, can produce and widely promote a large number of films. They have the financial resources to invest heavily in large-budget blockbusters and market them across their various properties. In contrast, small independent film companies have more limited financing and distribution options, so they produce far fewer films that are often aimed at niche audiences. The dominance of large conglomerates shapes the film industry and market in favor of big-budget Hollywood productions.
This document discusses key concepts for a media studies exam focusing on the film industry, including:
1. Exam questions may focus on areas like media ownership, synergy, new technologies, or audiences.
2. Media conglomerates own film studios, TV stations, music labels, and other assets, allowing them to synergistically market and distribute films.
3. Independent films often have smaller budgets than major studio films but can still find success through partnerships with larger distributors.
Section B Institutions and Audiences Revision Guidejphibbert
The document discusses several key aspects of the media industries:
1. Media ownership is highly concentrated among a small number of major global conglomerates like Disney and News Corp, creating an oligopoly in the film industry. The "Big Six" studios dominate global box office revenues.
2. These studios benefit greatly from cross-media convergence and synergy between their various subsidiaries. Disney is a prime example, maximizing revenue through properties like Marvel and franchises like Avengers across film, TV, games and merchandise.
3. The British film industry is much smaller and independent productions have less resources, relying more on funding from organizations like the BFI. They also face challenges in distribution dominated by the major US studios.
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.
A Field in England is a 2013 British black-and-white film directed by Ben Wheatley and produced by Film 4.0. It had a very small budget of £300,000 which was funded through Film 4.0, Rook Films, and the BFI. The film was shot in only 12 days with a small cast. It featured an unconventional narrative, setting, themes, and genre. Significantly, it was released simultaneously in cinemas, DVD/Blu-ray, download, VOD, and the Film 4 channel, representing Film 4.0's modern approach to film distribution and exhibition.
The document provides information about FilmFour, a British film production company. It discusses some of FilmFour's most successful films like Trainspotting and Four Weddings and a Funeral. It also addresses issues like representing diversity in British cinema, competing with major Hollywood studios, and adapting to changes in film consumption and technology.
This document provides an overview of the British film production company Working Title Films. It discusses how Working Title Films was founded in 1984 and began as a small, independent production company co-producing films with Channel 4. It achieved success with films like My Beautiful Laundrette (1985) but struggled financially. Working Title then began pursuing co-productions with American studios like Universal to gain financial stability and access to international markets. This template of British films with American stars became Working Title's model and led to massive commercial hits like Four Weddings and a Funeral (1994). However, not all of Working Title's films are successful and some have lost money. The document examines both the successes and failures of Working Title's approach over the
OCR MEDIA - G322 Section B Revision Guide ppttessiemedia
The document discusses the British film Trainspotting, describing it as a gritty and realistic portrayal of heroin addiction in Scotland that was both critically acclaimed and commercially successful. It explores themes of urban poverty and the dark side of drug culture while also being fascinating to audiences. While some accused it of glamorizing drug use, it was praised for its social realism in representing British youth subcultures of the time. The film was a hit in both Britain and the United States.
1. The exam questions may focus on various areas related to the film industry such as media ownership, synergy and cross-media convergence, new media technologies, how major industries target audiences, and personal media consumption.
2. Large media conglomerates own film studios, TV stations, record labels, magazines, newspapers, books, and internet platforms, allowing them to synergistically market and distribute their films across multiple subsidiaries. However, some independent films are produced outside the major studios with smaller budgets.
3. Technological convergence through devices like smartphones, tablets, laptops, and game consoles, as well as services like video on demand, have changed how audiences consume media and given independents new distribution opportunities
The document discusses media ownership in the film industry. It compares two film trailers, John Carter and Submarine, in terms of their production, budgets, and box office returns. It then discusses how media ownership affects the film industry through production, distribution, marketing and consumption. The American film industry is dominated by six major studios that are subsidiaries of large media conglomerates, allowing them to take bigger risks. British films often rely on co-productions with multiple companies and television studios. The document provides examples of how films appeal to different audiences and discusses issues around media ownership.
Working Title Films (WTF) appears independent but is owned by Universal Pictures, who distributes their films. In 1999, WTF signed a $600 million deal with Universal. WTF is a small company with 42 staff but co-owners Eric Fellner and Tim Bevan have been able to greenlight any film they choose. For the film Atonement, WTF solely produced it but it was distributed by 8 different companies. While the film was shot in England with a British story and cast, WTF is owned by Universal, so it is unclear if it should be considered a British film.
The document provides information about the OCR AS Media Studies exam, including details about the structure, content, and marking scheme. It discusses the 2 hour exam consisting of Section A focusing on TV drama representation from a video extract, and Section B on institutions and audiences. It also lists example exam questions that may be asked and what topics students are expected to know about regarding contemporary media issues, institutions, technologies, and audiences.
Question 3 – what kind of media institution might distribute your media produ...Katie Wright
A Hollywood conglomerate would be an unsuitable distributor for the film "Tracks of Damnation" because they aim for large global audiences with high budget films, whereas "Tracks of Damnation" is a low budget British independent film with a niche national audience. A UK distributor would be more appropriate as they invest in Category A British films and have a target niche national audience. Funding options in the UK include Film4, the National Lottery, or the BFI.
Dredd and some stuff stolen from another teacherMr Smith
The document discusses the British film industry. It identifies key organizations that support the industry, such as the British Film Institute which promotes British film culture and heritage. It also discusses major British production companies and how a film qualifies as a British film. The document examines audience types for films and how British films attract both domestic and global audiences. It provides box office figures for the industry and analyzes the 2012 film Dredd.
The document discusses FilmFour, a British film production company. It provides background on FilmFour, describing some of its successful and groundbreaking films from the 1980s-2000s like My Beautiful Laundrette, Trainspotting, and Four Weddings and a Funeral. The summary also notes that FilmFour faces challenges competing for cinema space with large Hollywood studios and lacks distribution clout.
This document discusses key concepts related to media institutions and the film industry. It begins by defining terminology such as institution, codes and conventions, and ideology. It then focuses on the film industry, discussing the patterns of production, distribution, exhibition and consumption. It notes the contemporary trends of digital distribution and their impact. Finally, it discusses how a study of a production company like Film 4 could link to issues of media ownership, audiences, and practices in the contemporary media landscape.
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 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.
This document provides an overview of the film industry, focusing on production, distribution, and exhibition. It discusses how films are funded and made (production), marketed and released in cinemas and other formats (distribution), and consumed by audiences paying to view films (exhibition). The document outlines the key roles of major studios and distributors in controlling distribution deals and prioritizing large Hollywood blockbusters over independent and foreign films. It also notes the challenges that increased costs of production and distribution pose to Hollywood studios and independent filmmakers.
The document discusses several key aspects of the film industry:
1) Large film studios, called "conglomerates", can produce, distribute, and sell their own films, merchandise, games, and more through various subsidiaries.
2) When companies join together in the film industry, it is called a "studio system" or they may form independent production companies.
3) Films that are distributed across multiple platforms like cinema, TV, online, mobile etc. are experiencing "technological convergence".
4) The success of films can be boosted by existing audiences from related TV shows, previous films, or online fan communities.
5) There is debate around whether the British film industry is a sustainable business or
The document lists various film marketing strategies that can be used to promote a film in 2 minutes or less, including:
- Posters, trailers, viral campaigns, TV interviews, print ads, social networking, websites, Q&A sessions, YouTube videos, and merchandise. It provides a concise overview of the essential film marketing tactics.
Film distribution is the competitive business of marketing and releasing films. Distributors are responsible for deciding release dates and theaters, advertising campaigns, and negotiating deals for home video and television releases. They aim to maximize revenue from theatrical showings, home video sales and rentals, pay-per-view, and television licenses. United International Pictures distributes films from major studios like Universal and Paramount internationally outside of North America.
- Digital technology has significantly impacted the film industry through changes in production, distribution, and audience consumption. At the production stage, films are now often created digitally rather than on physical film. Digital distribution has lowered costs but increased piracy risks. Audiences now have more options for accessing films through digital downloads, streaming, and video on demand platforms. Overall, digitalization has disrupted traditional models but also created new opportunities for both large studios and independent films.
This document provides definitions and examples of key terms related to the film industry. It discusses concepts like vertical integration, where a company owns different parts of the production and distribution process. It gives examples of major studios like Disney and mini-majors like Lionsgate. It also examines how technological changes have led to convergence, with films being distributed through multiple platforms. Examples are given of both large Hollywood films and smaller independent British films.
The document discusses the British film industry and its relationship with Hollywood. It notes that British films have traditionally been reliant on Hollywood for funding and distribution, forcing filmmakers to sell intellectual property rights. More recently, British television and digital technologies are playing a larger role in the production and distribution of British films. The rise of social media and digital exhibition may allow British films more independence and autonomy in the future.
Bulldog Film Distribution would be the most suitable distributor for the filmmaker's media product. As an independent UK film distributor, Bulldog focuses on smaller films that it distributes across all platforms in the UK only. This narrow scope makes films like the filmmaker's, which has a British nature, more likely to be considered. In contrast, large Hollywood studios like Warner Bros have an exclusively large global scope and budget that does not align with the filmmaker's smaller-scale project.
Working Title Films was founded in 1984 as an independent film company but was later acquired by larger media conglomerates seeking synergies. It was first bought by PolyGram in 1992, then by Universal and GE in 2004. As part of these conglomerates, Working Title gained access to larger budgets and global distribution but lost some independence and control over content. Their films have been criticized for portraying an idealized version of Britishness that lacks diversity in an effort to appeal to international audiences.
Straight Outta Compton was distributed domestically by Universal Pictures and received a wide theatrical release in August 2015, a time chosen to capitalize on summer blockbuster season. I, Daniel Blake was distributed internationally through various independent distributors and film festivals, helping it secure distribution deals. Both films followed platform release patterns, utilizing various digital and home video platforms in quick succession to maximize revenue from different audiences. Regulation by the BBFC influenced the films' ratings and potential audiences.
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 compares the film industries of Hollywood and Britain. Hollywood films have extremely large budgets of $110 million on average, allowing them to appeal globally with universal themes, action, CGI and minimal dialogue. They are produced and distributed by the "Big 6" major studios. Britain's film industry has much smaller budgets of £6.2 million from national funds. British films focus more on domestic themes and issues and have a collaborative production model with multiple companies. Both industries face challenges - Hollywood with piracy and Britain with obtaining sufficient funding to continue production.
This document discusses genres in filmmaking and how different institutions approach film production and distribution. It explains that genre is defined by form, content, and technique. It also discusses the differences between a high budget film from a major studio versus an art house or independent film. Major studios have more money to widely distribute their films, while independent films have smaller niche audiences. The document also compares the American film conglomerate Disney, which spends over $150 million on animated films like Frozen, to British institutions like Film4 that independently fund lower budget films around $9 million like Attack the Block.
Distribution is the process of releasing films in the marketplace through cinemas, DVD/Blu-ray, streaming, and television to build an audience. Distributors acquire films from various sources and determine the release strategy and date to maximize each film's potential. They present films to exhibitors who show them in cinemas for a fixed rental period. While cinema release is important for building a film's profile, distributors also focus on releasing films through ancillary markets like home entertainment and streaming to expand audiences.
This document provides information about British cinema. It begins by stating that the focus will be on how film institutions relate to production, distribution, and consumption of films in the UK. It then asks questions about what defines British films and expectations of British films. Next, it outlines categories used by the British Film Institute to classify films based on factors like funding sources and cultural content. The document discusses how the British film industry has struggled due to its small market size compared to Hollywood. It concludes by outlining a task for students to research British films and the industry from different decades.
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June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
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Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
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Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
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• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
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A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
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1. Film Industry - Straight Outta Compton and I, Daniel Black
THE FILM PROCESS
There are three distinct areas of the film industry.
Each one of these could be viewed as a type of media institution.
PRODUCTION DISTRIBUTION EXHIBITION
What happens at each stage?
For the exam, you will only need to be familiar with the first two stages in detail.
Some of the key issues that you will need to understand and relate to the case studies
Production Distribution
• Budget and funding
• The types of films produced (Hollywood vs.
British Film Industry)
• How the different stages of production can be
used in order to target the audience?
• The impact of technology
• The use of vertical integration
• The role of festivals
• Different types of release patterns used [cine-
matic and home release]
• Digital distribution
• Regulation - Film classification and age certifi-
cation
• Marketing
• The impact of technology (piracy)
The impact of media ownership – to what extent can Curran and Seaton as well as Hesmondhalgh’s theory
be applied to analyse the two case studies?
Production involves the creation of the media product and is the responsibility
of the PRODUCTION COMPANY
How do films get funded?
• The Studio Model
• Government funding
• UK Tax finance
• Pre sales
• Co-productions
• Product placement
• Music
• Crowdfunding
• National and regional agenciesWhat funding method is most likely to be used in the Holly-
wood film industry?
The writer/director/producer must find finance for a film – which may come from one or many production
companies (a co-production)
Which production company produced Straight Outta Compton?
Both use co-production in order to fund the film. But what is the main difference between the two films regarding funding?
2. Some of the production costs were covered by product placement in the film.
• You will watch the trailer of the film – what examples of product placement do you see in the film?
• Why would Straight Outta Compton be appealing to companies as possible place to advertise their
product?
Universal Pictures is part of a conglomerate
• What is a conglomerate?
• What is the benefit of being part of a conglomerate?
Why did Straight Outta Compton have a larger production budget?
It can be argued that Legendary Pictures and Universal’s deal is an example of horizontal and vertical inte-
gration. Why?
3. Why is important to look at the funding of film?
You can explore the following:
• The types of films made
• The production value
What is production value?
• In the movie industry, the quality of a film is referred to as its “production value.”
• Films with a higher budget will usually have a high production value.
high concept film
A major film that features global themes, a simply fairy-tale narrative, major stars, music by major compos-
ers or pop stars, is a genre film and has a saturated 360-degree marketing campaign.
A high-budget production
• Looks good exhibiting high production values
• Aimed at mass global markets
• Universally recognisable story
• Simple characters easy to understand
• Offers ‘synergy’, merchandising, TV/ DVD sales
• Relies on vital merchandising
High budget affords:
• Special effects
• Actors
• Great script
• Exotic locations
• New technology – camera
work
Cross-media convergence = They are looking to create brand that they can transfer to theme parks, games
and television.
Hollywood film industry is dominated by conglomerate
Characteristic of Hollywood
Films Today
• Franchise
• Prequel/sequel
• Blockbuster: sfx/cgi/3d
• Comic/book/tv/remake
• Genre and the repack-
aging of successful
elements
Power and media industries - Curran and Seaton Cultural industries - David Hesmondhalgh
• The idea that the media is controlled by a small
number of companies primarily driven by the logic
of profit and power.
• The idea that media concentration generally limits
or inhibits variety, creativity and quality
• The idea that more socially diverse patterns of
ownership help to create the conditions for more
varied and adventurous media productions.
• The idea that cultural industry companies try to
minimise risk and maximise audiences through
vertical and horizontal integration, and by format-
ting their cultural products (e.g. through the use of
stars, genres, and serials)
• The idea that the largest companies or conglom-
erates now operate across a number of different
cultural industries.
• The idea that the radical potential of the internet
has been contained to some extent by its partial
incorporation into a large, profit-orientated set of
cultural industries.
What is the benefit of taking this approach?
To what extent is the film is a high concept film and typical of the Hollywood film industry? Provide evidence
Argments in agreement
4. Hollywood – a brief overview
• Hollywood is built around studios and conglomerates
• Hollywood operates as an oligopoly especially when it comes to distribution.
• Hollywood film industry is vertically integrated.
• Companies who aim to make money from films through diversification, which is aided by cross media
convergence
• Focus on producing high concept films and building franchises.
To what extent is the film is a high concept film and typical of the Hollywood film industry? Provide evidence
Argments in disagreement
5. The British Film Industry
How do we define films as British?
Are these British films?
BFI Definition of “a British film”
• The British Film Institute (BFI) control who gets publicly funded money to make their films.
• If a movie is “not British enough”, it automatically fails to get approved for funding.
• They decide how British a movie is with the Cultural Standards Test.
• In order to qualify for tax relief and lottery funding, a proposed film has to pass what is termed the
Cultural Test.
Which production companies produced I, Daniel Blake? How many of them are British institutions?
Sixteen Films, British Film Institute, Why Not Productions, Wild
Bunch, BBC films
Yes, Harry Potter is a British film, but it is also
an American film as it is about British people
but isn't set in Britain, it is produced by
Warner bros.
No, Prometreus is an American production as
there are no British themes and it is produced by
20th century fox. Some would say it is because
the director and main charecther are british and
was filmed in british locations.
6. How the BFI categorises this:
• A – films made with British money, personnel & resources
• B – films co-funded with money from Britain
• C – films with mostly foreign (but non-USA) investment & a small British input
• D – films made in UK but with USA finance
• E – American films with some British involvement
The British Film Institute is responsible for deciding which films got public funding. This investment is
meant to:
• Broaden range of films being developed in the UK
• Support emerging talent in independent films
• Fund mainstream, commercially-driven British films targeted at a global audience
There is funding available from the BFI, which comes from Lottery Money. BFI have £6 million for develop-
ment and £17 to fund productions.
The BBC and Film4 are also partially funded by the public (license fee).
BBC Film - £1 million – £5million.
The UK film industry does
not have large conglomer-
ates like Hollywood.
British films are usually
funded by either:
• Deals with American
distributors and produc-
tion companies, which
include pre-sales.
• Publicly funded money
(The National Lottery,
BBC Films, Film4 Produc-
tions)
• Small independent
film companies (also
sometimes with public
money)
• Co-production
Why do we put public money into funding films?
What is the potential benefit of co-production for UK films?
To support the British culture threw film and public entertainment. It will
aslo encourage tourism and make people spend more in Britain from
other countries.
The benefit of co-production is there is less liability to the funders of
the film
7. Pre-sales is, based on the script and cast, selling the right to distribute a film in different territories before
the film is completed. When the deal is made, the distributor will insist the producers deliver on certain
elements of content and cast; if a material alteration is made, financing may collapse.
British Film Industry = Cottage Industry
The British film industry is considered ‘cottage industry’ because most of the productions are low key and
targeted mainly at a domestic, British audience compared to the Hollywood industry, which is global. and
majority of the films are financed either by being independently funded, use co-production or government
funding. However, there are a number of British films that studio backed. Working Title is a subsidiary of
Comcast, and films with the budget of over $17 million are funded by Universal Studios.
Film Budgets
• Micro budget – National Lottery/BFI/ Film London (Shifty £100k) and Vertigo Films (Monsters £500k)
• Small Budget – Warp Films, BBC Films, Film4
• Mid Budget – Indiewood (Focus Features, Fox Searchlight etc), Working Title.
• Big Budget – Hollywood Studios.
Important debate
The choices for the British film industry=
1. Make low budget films targeted at mainstream British audiences
2. Make low budget films for niche ‘art-house audiences’ in the UK and abroad
3. Look for partners in Europe and/or America and aim for more clearly an international audience
In what ways could a film like I, Daniel Blake attract funding through pre-sales?
8. Since the UK film industry doesn’t have the spending power of the US conglomer-
ates, purely British films tend to be low budget
What might this mean for the types of films which Britain produces?
What is a social realist film? Conduct research into the film genre social realism
Read through the statistic, what genre of film is most likely to be made?
Task 1
• What is meant by the term?
• What are the key conventions?
• Who are the key figures in the social realist movement?
• What is the potential appeal of social realist genre for audiences?
9. Decription of Indepent Films
• “Anyone who makes a film that is the film they want to make, and is not defined by marketing anal-
ysis or commercial enterprise, is independent.” (Jim Jarmusch)
• “It’s not about being autocratic, forcing your will on people, illustrating a grand vision. It’s about
finding a community of friends, speaking to the moment.” (Michael Almereyda)
• “A good, healthy, anti-Hollywood sentiment, working outside the system, generating your own
financing, trying to make movies free of a certain Hollywood aesthetic.” (James Mangold)
• “Independent filmmaker’s don’t make money. They’ll spend all the money they have to make the
movie. Money they don’t have. The movie can be as good as it’s gonna be, or as bad as it’s gonna be,
but it’s theirs.” (Quentin Tarantino)
Independent films are sometimes distinguishable by their content and style and the way in which the
filmmakers' personal artistic vision is realized. The standard belief is lower budgets give the possibility of
artistic and creative control.
Words used to decribe the style and content of independent films:
Provocative” “Experimental”“Dark” “Challenging” “Gritty”“Shocking”“Subversive”“Unconventional”
“Witty” “Questioning” “Exciting”“Cynical” Creative” “Surprising” “Edgy” “Topical” “Honest”
Watch the trailer of I, Daniel Blake
• Referring to specific examples from the trailer, to what extent is the film social realist?
• Referring to specific examples from the trailer, in what ways are social realist films evidence that the British film industry is a cottage
industry.
To what extent can Curran and Seaton as well as Hesmondhalgh’s theory be applied to I, Daniel Blake?