US and UK Film Popularity
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The American film industry produces films on a global scale that appeal to broad audiences through relatable themes, while the British film industry focuses on more niche topics specific to British culture. US films are also popular in the UK due to the global recognition and fanbases of Hollywood actors and directors. In contrast, British films tend to use lesser known British talent to keep budgets lower while appealing specifically to British audiences.
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British cinema since 1990 (2)
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.
What determines a british film
The document discusses what determines whether a film can be considered British. It explores several categories of British films based on factors like financing, cultural content, and personnel. It also examines case studies of films like Trainspotting and Gravity and whether they passed the UK film council's cultural test to be recognized as British films. There is no clear consensus on what constitutes a British film and Britishness in films can be interpreted in different ways based on gritty homegrown productions versus big budget films shot in the UK.
Evaluation: Question 3
Vertigo Films and Revolver Entertainment are potential film distributors discussed in the document. Vertigo Films specializes in distributing smaller, independent films from the UK and has found box office success with low budget films. However, Revolver Entertainment's strategy of straight-to DVD or limited theatrical releases could cause a flop for a film without an existing audience like "Tarot". Ultimately, the document suggests self-distributing initially through local cinemas, film festivals, and online to build an audience before pursuing a larger distributor. However, this approach carries high financial risk if the film fails to gain traction and recoup its budget.
British Film Industry
The document discusses the rules and regulations for classifying a film as a "British film". Films must pass the cultural test by scoring 16 or more points out of 31 across four categories: cultural content, cultural contribution, cultural hubs, and cultural practitioners. Passing the test makes the film eligible for tax reductions and incentives. The benefits of creating a British film are that profits are not taxed, which promotes Britain as a filming location and supports jobs and the economy.
Brit Cinema Lesson 1
This document provides information and guidance for developing a case study on a British film studio or production company. It discusses the key aspects of film production, distribution, and consumption that should be covered. It also prompts the reader to consider what defines British cinema and films. Examples are given of different decades of British cinema, including major films from each era, to help understand the ups and downs of the British film industry over time. Readers are assigned a decade to research and develop a short presentation about British cinema in that time period.
Fish+tank+and+avatar
The document compares the films Fish Tank and Avatar in terms of their production institutions, budgets, box office earnings, and the genres and audiences targeted by each institution. Fish Tank was produced by BBC Films on a budget of £1.85 million and earned £332,488 total. Avatar was produced by 20th Century Fox, Lightstorm Entertainment, and Dune Entertainment on a much larger budget of £146 million and earned over £1.7 billion worldwide. 20th Century Fox targets a broader audience with films across multiple genres, while BBC Films focuses on smaller-scale drama films for an older audience.
Synergy and convergence
Synergy and convergence in the film industry, referring to the case studies of Frozen (2013) and 12 Years A Slave (2013).
Question7
We decided to create a film noir media product. We researched various aspects of film noir including genre conventions, history, initial ideas, institutions, audience, title sequences, pitches, call sheets, and storyboards. Specifically, we analyzed the opening title sequence of "Sin City" and watched classic films noirs like "The Big Combo" and "Kiss Kiss Bang Bang" to better understand genre conventions and institutions. We found the target audience for film noirs includes art fans and aspiring filmmakers who appreciate the artistic style and cinematography. This research helped provide background and inspiration to create our own film noir media product.
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British cinema since 1990 (2)
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.
What determines a british film
The document discusses what determines whether a film can be considered British. It explores several categories of British films based on factors like financing, cultural content, and personnel. It also examines case studies of films like Trainspotting and Gravity and whether they passed the UK film council's cultural test to be recognized as British films. There is no clear consensus on what constitutes a British film and Britishness in films can be interpreted in different ways based on gritty homegrown productions versus big budget films shot in the UK.
Evaluation: Question 3
Vertigo Films and Revolver Entertainment are potential film distributors discussed in the document. Vertigo Films specializes in distributing smaller, independent films from the UK and has found box office success with low budget films. However, Revolver Entertainment's strategy of straight-to DVD or limited theatrical releases could cause a flop for a film without an existing audience like "Tarot". Ultimately, the document suggests self-distributing initially through local cinemas, film festivals, and online to build an audience before pursuing a larger distributor. However, this approach carries high financial risk if the film fails to gain traction and recoup its budget.
British Film Industry
The document discusses the rules and regulations for classifying a film as a "British film". Films must pass the cultural test by scoring 16 or more points out of 31 across four categories: cultural content, cultural contribution, cultural hubs, and cultural practitioners. Passing the test makes the film eligible for tax reductions and incentives. The benefits of creating a British film are that profits are not taxed, which promotes Britain as a filming location and supports jobs and the economy.
Brit Cinema Lesson 1
This document provides information and guidance for developing a case study on a British film studio or production company. It discusses the key aspects of film production, distribution, and consumption that should be covered. It also prompts the reader to consider what defines British cinema and films. Examples are given of different decades of British cinema, including major films from each era, to help understand the ups and downs of the British film industry over time. Readers are assigned a decade to research and develop a short presentation about British cinema in that time period.
Fish+tank+and+avatar
The document compares the films Fish Tank and Avatar in terms of their production institutions, budgets, box office earnings, and the genres and audiences targeted by each institution. Fish Tank was produced by BBC Films on a budget of £1.85 million and earned £332,488 total. Avatar was produced by 20th Century Fox, Lightstorm Entertainment, and Dune Entertainment on a much larger budget of £146 million and earned over £1.7 billion worldwide. 20th Century Fox targets a broader audience with films across multiple genres, while BBC Films focuses on smaller-scale drama films for an older audience.
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We decided to create a film noir media product. We researched various aspects of film noir including genre conventions, history, initial ideas, institutions, audience, title sequences, pitches, call sheets, and storyboards. Specifically, we analyzed the opening title sequence of "Sin City" and watched classic films noirs like "The Big Combo" and "Kiss Kiss Bang Bang" to better understand genre conventions and institutions. We found the target audience for film noirs includes art fans and aspiring filmmakers who appreciate the artistic style and cinematography. This research helped provide background and inspiration to create our own film noir media product.
Be cool film opening name
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Evaluation question #3
This document discusses potential film distributors for a low-budget, independent British film. It analyzes Film4 and Vertigo Films as options, as they have successfully distributed similar small films in the past, such as Slumdog Millionaire and Monsters. Both are specialized in low-budget films, unlike larger companies. The document also describes changing the film production company's ident from a modified "20th Century Fox" to a name combining the producers' names, "Benton", as a more appropriate representation.
Sight and sound
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Evaluation q4
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AS Media Section B Exam Intro
The document discusses defining what constitutes a "British film" and outlines several perspectives on this. It notes that defining Britishness is complicated by the influx of other cultures. It also explains the UK Film Council and Department of Media, Culture and Sport's definition, which focuses on funding sources and number of British personnel. The British Film Institute further categorizes films based on factors like funding sources and production location/resources. Students will need to analyze a contemporary UK production or distribution company for a case study considering its production, distribution, and consumption aspects.
Evaluation q4
The target audience for the media product is males aged 18-28 who are interested in boxing or sport drama films. Research included distributing questionnaires to the target audience to understand what they expect from a sport drama genre film and gain feedback on the storyline, locations, and music. The questionnaires helped the creators adapt the film to fit the target audience and determine if they would actually watch the movie.
Working Title Films
Working Title Films is a British film production company founded in the late 1980s by Tim Bevan and Sarah Radclyffe. It is based in London and produces both feature films and television shows. One of their breakthrough successes was the 1994 romantic comedy Four Weddings and a Funeral, directed by Mike Newell and written by Richard Curtis. Curtis has written several other popular romantic comedies for Working Title Films and is known for his portrayals of middle-class lives in London. Working Title Films has helped promote British talent both in front of and behind the camera on many of their films.
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Censorship
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In Media Oct2009
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Target audience
The document discusses strategies for attracting the target audience of a rockumentary film opening. It aims to appeal to its core demographic of teenage girls aged 15-24 by using a playful swear word in the title ("4Q productions"), depicting the musician swearing on stage to seem cool, and showing close-ups of the star to establish an image that will attract fans.
Question 1
In whats ways does your media product use, develop or challenge forms and conventions of real media products?
Independant labels and major labels
The Universal Music Group is a major global music corporation that was formed through the merger of PolyGram and Universal Music in 1999. It promotes well-known artists like Lady Antebellum, Queen, and Justin Bieber. UMG identifies and develops recording artists and songwriters and works to inspire people through music. Domino Recording Company is a smaller, independent British label founded in 1993 that works with artists like Alex G, Hot Chip, and Elliott Smith. While major labels offer greater distribution, marketing and audience reach, independent labels can target niche markets and help new talent find popularity.
Media A2 Music Video Analysis
This document provides an analysis of the 1986 music video for "Sledgehammer" by Peter Gabriel. It summarizes key details about the song and video. The analysis finds that while the stop-motion animation style is unconventional, themes of sexuality and a strong synchronization of audio and visuals link it to typical pop music videos. Most shots focus on Gabriel's face, reinforcing his image while possibly relating to notions of the male gaze. Overall the video can be considered compatible with conventions of pop music videos outlined in Goodwin's principles.
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Andrew Goodwin is considered the theorist who established the codes and conventions of music videos. In 1992, he published the book "Dancing in the Distraction Factory" which analyzed music videos and their characteristics. Some of the key codes and conventions he identified include the use of genre-based characteristics in videos, the relationship between lyrics and visuals, and the relationship between the music and visuals in a video.
Which Record Label?
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The Music Industry
The document discusses the music industry and who controls it. It notes that major companies control around 75-90% of the global and US music industries respectively. The four main roles of music labels are talent acquisition, contractual agreements with artists, marketing and promotion of releases, and copyright enforcement. Music labels sell various physical and digital products including CDs, vinyls, downloads, streams and more to generate over $18 billion in global revenue annually from a market of over 30,000 new releases each year.
Good Grief
Bastille's song "Good Grief" inspired Ellie and Sam to brainstorm ideas for their own music video for the song. They analyzed the lyrics and meaning to help create visuals that would work well. Ellie and Sam wanted to transform the song into their own music video.
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Simeon and I decided to title our film "Be Cool" which we thought of from the inspiration of "Get Hard." We wanted a quick title that would be easy to say and remember for our audience. Other potential titles we considered were "Be S.Dout" and "CoolKid" but we went with "Be Cool" because it tested better with people we asked for feedback.
Working Title - Representing Britishness
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Evaluation q4
The target audience for the media product is males aged 18-28 who are interested in boxing or sport drama films. Research included distributing questionnaires to the target audience to understand what they expect from a sport drama genre film and gain feedback on the storyline, locations, and music. The questionnaires helped the creators adapt the film to fit the target audience and determine if they would actually watch the movie.
Working Title Films
Working Title Films is a British film production company founded in the late 1980s by Tim Bevan and Sarah Radclyffe. It is based in London and produces both feature films and television shows. One of their breakthrough successes was the 1994 romantic comedy Four Weddings and a Funeral, directed by Mike Newell and written by Richard Curtis. Curtis has written several other popular romantic comedies for Working Title Films and is known for his portrayals of middle-class lives in London. Working Title Films has helped promote British talent both in front of and behind the camera on many of their films.
Black Sabbath - God is Dead? music video analysis
The music video for "God is Dead?" by Black Sabbath questions the existence of God and the role of religion in wars and conflicts. It shows a man walking expressionless through a busy city, as everything moves around him, suggesting humans leave traces but he is disconnected. The video cuts between shots of the concept and the band performing, representing the conflicting ideas in the man's head. Imagery like a filtered Bible and sepia tones imply Christianity is outdated and God is a fictional concept.
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The document discusses audience theory for several films and media sources. For the James Bond trilogy, the primary audience is identified as 13-20 year old boys/men who enjoy action films. The secondary audience is Bond fans aged 30+. For Toy Story 4, the primary audience is all ages since it's rated U, and the secondary audience is broad since the original films were popular with parents. For the Stephen King film IT, the primary audience is 18-30 year old horror fans, and the secondary audience is 30+ who may have seen the original. The document also discusses uses and gratifications theory applied to the BBC, defining consumer generated content, and listing different psychographic audience categories.
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What kind of media institution might distribute your media product and why?
What kind of media institution might distribute your media product and why?
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Question 1
In whats ways does your media product use, develop or challenge forms and conventions of real media products?
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The Universal Music Group is a major global music corporation that was formed through the merger of PolyGram and Universal Music in 1999. It promotes well-known artists like Lady Antebellum, Queen, and Justin Bieber. UMG identifies and develops recording artists and songwriters and works to inspire people through music. Domino Recording Company is a smaller, independent British label founded in 1993 that works with artists like Alex G, Hot Chip, and Elliott Smith. While major labels offer greater distribution, marketing and audience reach, independent labels can target niche markets and help new talent find popularity.
Media A2 Music Video Analysis
This document provides an analysis of the 1986 music video for "Sledgehammer" by Peter Gabriel. It summarizes key details about the song and video. The analysis finds that while the stop-motion animation style is unconventional, themes of sexuality and a strong synchronization of audio and visuals link it to typical pop music videos. Most shots focus on Gabriel's face, reinforcing his image while possibly relating to notions of the male gaze. Overall the video can be considered compatible with conventions of pop music videos outlined in Goodwin's principles.
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Andrew Goodwin is considered the theorist who established the codes and conventions of music videos. In 1992, he published the book "Dancing in the Distraction Factory" which analyzed music videos and their characteristics. Some of the key codes and conventions he identified include the use of genre-based characteristics in videos, the relationship between lyrics and visuals, and the relationship between the music and visuals in a video.
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The author would choose a major record label, specifically Warner Music Group, over an independent label. Warner Music Group has considerable financial advantages over independents and extensive experience promoting new artists. Warner Music Group also owns sub-labels that specialize in targeting specific music genres, an advantage typically associated with independent labels.
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This document proposes a music video concept for the song "Good Grief" by Bastille. The concept would combine elements of a performance music video with conceptual elements to match the contrasting upbeat music and melancholy lyrics. Scenes of the band performing in black suits at a funeral would be intercut with flashbacks of a deceased woman dressed in white, representing innocence. Shots of fire and empty photo frames would reinforce lyrical themes. The video aims to challenge stereotypes by portraying the male singer as emotional rather than dominant.
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This document outlines the requirements for blogs that students must include. It lists: the opening draft and final thriller openings, evaluation questions, names and exam numbers, an archive section, a labels tool, a thriller recipe, research on thriller conventions, a director study, a group presentation on an opening, textual analysis of three thriller openings, questions on Shutter Island, a preliminary task, analysis of previous blogs, audience research, initial brainstorming, title sequence research, a final idea PowerPoint, ideas on mise-en-scene, task divisions, an initial storyboard, shot lists, and multimedia elements.
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This document provides an overview of key concepts and terms in media studies. It discusses media audiences, technologies, agencies/ownership, languages, categories, and representation. It then introduces key media terms related to sound, camera shots, camera angles, camera movements, and editing techniques. Finally, it discusses elements of mise-en-scene including costume, setting, expression, lighting, and frame position.
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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.
Question 3 – what kind of media institution might distribute your media produ...
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.
Media essayy readable
The document discusses the dominance of the American film industry, specifically Hollywood studios, in the British film market. It argues that Hollywood films, distributed by the "Big Six" studios, make up the vast majority (74.6%) of films shown in UK cinemas. British films receive much smaller budgets from domestic sources like the BFI lottery fund, limiting their creative and marketing abilities compared to major Hollywood productions from studios like Disney. Due to these budgetary differences, British films struggle to find widespread audiences and financial success against the globally-targeted films from the Big Six studios.
revision
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
Revision uk film and the hollywood context
The document discusses several aspects of the British film industry and its relationship with Hollywood. It asks whether a British film needs only a UK setting, cast, or storyline to be considered British. It also examines the importance of a national film industry for the economy and culture. British films often involve co-productions and distribution through Hollywood studios, so marketing decisions consider both UK and US audiences. Hollywood has been more successful due to continually reinventing itself and taking advantage of new technologies to expand globally. Recent British films have promoted more diversity and representation in national identity.
Film 4 and trainspotting
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.
Globalisation
Globalization has increased dramatically over the last half century due to vastly increased international trade and cultural exchange. It has led companies to operate on a global scale and made economies more interdependent. American film studios have particularly benefited from globalization, earning more than half their box office revenues from outside North America. However, British film companies face challenges in achieving success internationally, as their films need to appeal to American audiences to find a large market. One strategy for British studios is to partner with major American distributors like Universal to gain access to overseas distribution networks.
Section aquestions
This document provides sample questions about film producers, audiences, and the film industry. It also outlines what is needed to achieve a high grade in answering the questions. Some key points that would be evaluated include:
- Understanding how factors like franchises, remakes, and blockbuster "event" films influence producers and appeal to audiences.
- Awareness of how films from different eras are made relevant for modern viewers and the importance of genre.
- Ability to analyze the reasons for success or failure at the box office and what attracts people to cinemas versus streaming.
Strong responses would demonstrate in-depth knowledge of the film industry, effectively address the question, and integrate relevant details from
Working titles andWARP
Working Titles is a British film company founded in 1983 that has produced over 100 films grossing nearly $6 billion worldwide. It is known for award-winning films like Les Miserables and collaborating with notable directors and actors. The company's films have evolved to target changing audiences, with earlier films aimed primarily at UK viewers due to their focus on British culture, while more recent productions have found greater international success through broader appeal.
Production funding.pdf
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.
Section a revision SECTION A
The document discusses several aspects of the British film industry:
1) The industry maintains independence by meeting cultural tests with British cast/crew and receiving funding from domestic sources like the UK Film Council.
2) Films are profitable by keeping budgets low which ensures more earnings, and hiring British talent and production companies to retain funds within the country.
3) Major production companies receive funding from domestic organizations and sometimes partner with Hollywood to distribute films more widely.
Film 4 part 1
The document discusses several aspects of the British film industry, including its reliance on co-productions with Hollywood studios for funding and distribution. It notes that while British films can find an audience abroad, films focusing too narrowly on domestic themes may struggle. Successful British films like Trainspotting, Four Weddings and a Funeral, and Slumdog Millionaire have utilized marketing strategies and universal storylines to appeal to both UK and international audiences. FilmFour is highlighted as an important producer of lower-budget British films that explore social and cultural issues.
Short film vs feature length film
Short films are typically under 30 minutes while feature films are 70-210 minutes. Short films have small budgets so rely on festivals for distribution, while features get funding from major studios. Features can afford famous actors and locations, helping films like Get Out gross over $255 million. Meanwhile, short films tell relatable stories on modest budgets, with examples like The Silent Child winning awards. Major studios produce generic feature films, while independent companies take risks on niche short films.
Short film vs feature length film
Short films are typically under 30 minutes while feature films are 70-210 minutes. Short films have small budgets so rely on festivals for distribution, while features get funding from major studios. Features can afford famous actors and locations, helping films like Get Out gross over $255 million. Meanwhile, short films tell relatable stories on modest budgets, with examples like The Silent Child winning awards. Overall, features are considered better due to their larger budgets and commercial success, though short films find acclaim at festivals for creative storytelling.
The British and US Film Industry Part 2
This document discusses vertical and horizontal integration in the film industry. It explains that vertical integration occurs when a company owns all steps of production, such as a company that owns a wheat farm, fertilizer company, and bakery. It provides the example of AOL Time Warner, which owns production companies, distribution arms, TV networks, magazines, record labels, and radio stations. Horizontal integration means one step of production is owned by a small number of companies, like one bakery owning all bakeries in an area. The document notes that Hollywood has realized there is money to be made internationally and invests heavily, keeping profits, while the British film industry relies on American distribution and sees little money returned. It challenges that the British industry
Media ownership essay
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.
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US and UK Film Popularity
- 1. Sam, Ellie, Libby and Becky What are some of the reasons for the popularity of US produced films for the UK audiences and can UK films achieve success in the US? Introduction: The American Film Industry has a habit of producing films aimed at a global target audience, and have become one of the largest and most successful industries in the world. They achieve this status by exploring generic themes, which are relatable, and appeal to many people and their cultures. Also, US films become massive in he UK because of the status, reputation and recognition of the actors within the film as Hollywood actors/actresses are recognized and known globally by their fan-base. Alongside this status, reputation and recognition of Hollywood actors, comes the Hollywood directors. Just like actors, directors have also gained strong reputation and fan-base for producing high quality, entertaining films that everyone wants to go and watch. In contrast to this, the British Film Industry tends to produce more specific films aimed at a niche audience; usually featuring British humor or history, which is only applicable and understood by British people. Also, the British Film industry do not have the luxury of Hollywood actors and film directors, and tend to use minor British actors and directors that the British public know and trust to produce a quality films, and also helps to keep the budget down. (197 words) What would be your central argument and what four key points would you make? Give specific details from the case studies and explain why you would include that information. What other films could you talk about and what could you say? What key terminology would you use? (explain the terms in your own words)