What are;
1.the issues raised by media ownership in contemporary media practice;
2. the importance of cross media convergence and synergy in production, distribution and marketing;
3. the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
4. the significance of proliferation in hardware and content for institutions and audiences;
5. the importance of technological convergence for institutions and audiences;
6. the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
7. the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour
Monday 28 April 2014
Wednesday 23 April 2014
Tuesday 1 April 2014
Easter work
Revision for Film Industry
Consider the following;
1. Have you got contrasting films you can use as case studies e.g. big budget Hollywood v low budget British indie which allow full range of issues to be discussed?
2. Have you got contemporary examples - the best are almost always live case studies of films on release at the moment so that the material is out there to be grabbed (marketing, distribution, exhibition data, etc)?
3. Can you grasp the seven bullet points from p.19 of the spec, from which all exam questions will be drawn?
Candidates should be familiar with:
the issues raised by media ownership in contemporary media practice;
the importance of cross media convergence and synergy in production, distribution and marketing;
the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
the significance of proliferation in hardware and content for institutions and audiences;
the importance of technological convergence for institutions and audiences;
the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
4. Can you articulate concepts and use examples to support those in a systematic way?
If you can do all the above and write for 45 mins you will do well. You need to grab material you can access easily and practise analysing and contextualising it within the concepts of audience and institutions.
Consider the following;
1. Have you got contrasting films you can use as case studies e.g. big budget Hollywood v low budget British indie which allow full range of issues to be discussed?
2. Have you got contemporary examples - the best are almost always live case studies of films on release at the moment so that the material is out there to be grabbed (marketing, distribution, exhibition data, etc)?
3. Can you grasp the seven bullet points from p.19 of the spec, from which all exam questions will be drawn?
Candidates should be familiar with:
the issues raised by media ownership in contemporary media practice;
the importance of cross media convergence and synergy in production, distribution and marketing;
the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
the significance of proliferation in hardware and content for institutions and audiences;
the importance of technological convergence for institutions and audiences;
the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
4. Can you articulate concepts and use examples to support those in a systematic way?
If you can do all the above and write for 45 mins you will do well. You need to grab material you can access easily and practise analysing and contextualising it within the concepts of audience and institutions.
Monday 31 March 2014
The cinema exhibitors website
Excellent resource for looking at the current situation of cinema in the UK here
Thursday 13 March 2014
Film distrbution in the UK
Friday 14 February 2014
Long but really insightful out line of the British Film Forever project from the BFI
Read here
With over £26m to invest in 2013, the BFI Film Fund is the UK’s largest public investor in film – supporting first-class film-making through development and production, to distribution and international sale
With over £26m to invest in 2013, the BFI Film Fund is the UK’s largest public investor in film – supporting first-class film-making through development and production, to distribution and international sale
In a nutshell
Development - the writing, packaging and financing of film ideas and scripts.
Production - the process of setting up and shooting every scene in a film.
Post Production - where all these shots are assembled, treated and mixed into a finished product.
Distribution - the process of selling this product to audiences, via the cinemas, retailers and rental firms.
Exhibition - the cinemas which screen the film for the general public.
Production - the process of setting up and shooting every scene in a film.
Post Production - where all these shots are assembled, treated and mixed into a finished product.
Distribution - the process of selling this product to audiences, via the cinemas, retailers and rental firms.
Exhibition - the cinemas which screen the film for the general public.
Film Forever
The BFI has launched the Production Company Vision Awards 2013-15 to provide crucial support for the production sector and help grow strong and sustainable UK film businesses. The Vision Awards are the latest initiative to roll out following the launch of Film Forever, the BFI's bold five year plan to support creative excellence and foster economic growth within the UK's film industry
Interesting article about Working Title
Working Title is something of a rarity in the UK film business, in that it is a true hit factory - a British based company that consistently produces box office smashes that set cash tills ringing in cinemas right around the world.
Working Title is behind some of the most successful British films of all time: Four Weddings And A Funeral, Notting Hill, Bridget Jones's Diary and Love Actually. The company also has a long association with the Coen Brothers, producing five of their films including Fargo and The Man Who Wasn't There. It has also brought books such as Nick Hornby's High Fidelity and About A Boy, and Louis de Berniere's Captain Corelli's Mandolin, to the big screen.
On top of this, the company's credits also include Elizabeth, Bean, The Guru, Ned Kelly and Thunderbirds. It recently released romantic comedies Wimbledon and Bridget Jones The Edge Of Reason and is in post-production on The Interpreter starring Nicole Kidman and is shooting a version of Pride And Prejudice on location throughout England.
It's a hugely impressive list of credits. In all, the company has produced more than 70 films since its launch in 1983, with a combined gross in excess of $2.5 billion worldwide; its films have won four Oscars and 20 Baftas. This year, the company was awarded the prestigious Michael Balcon Bafta Award for its contribution to the British film industry.
Eric Fellner - Working TitleCo-chairs Eric Fellner and Tim Bevan have run the company together since 1991. The plan, according to Fellner, was pretty straightforward when he joined: "We decided to make films for the international market place - about three to six a year."
Despite its famous name, the structure at Working Title is pretty lean. It employs just 42 full time staff, split between the main Working Title production arm and its low-budget offshoot WT2, run by Natascha Wharton, which since 1999 has produced films like Billy Elliot and Ali G Indahouse.
In terms of production, a strong emphasis is placed on development. Six people work sourcing, developing and honing projects in the UK, with another three in the US and one person in Australia.
The production department itself is six strong, and comprises two senior production executives, backed up by four staff, and is responsible for overseeing Working Title's films. This involves managing a film's budget and keeping the shoots on schedule.
Other key departments include a legal and business affairs team, headed by company chief operating officer Angela Morrison who is responsible for financing Working Title films and sorting out legal issues. She works with three full time lawyers on her team.
How does Working Title choose which films to make? Fellner says projects get championed by individuals in the development department and these 'percolate' their way up to the top. Bevan and Fellner then both take the decision on what to greenlight.
Although contractually they are allowed to give the go-ahead to any film with a budget of up to $25m, on a practical basis they do so in consultation with studio chiefs at Working Title's parent company -Universal, which itself is owned by giant US corporation Comcast.
Recruitment into Working Title is pretty rare. "The problem is that people don't seem to leave that much, so there are not a lot of opportunities to hire people," explains Fellner. However, the company has just started an intern programme which provides four trainees the chance to work in all Working Title departments over 12 month period. Working Title's literary executive Amelia Grange oversees the programme with Angela Morrison.
Working Title is behind some of the most successful British films of all time: Four Weddings And A Funeral, Notting Hill, Bridget Jones's Diary and Love Actually. The company also has a long association with the Coen Brothers, producing five of their films including Fargo and The Man Who Wasn't There. It has also brought books such as Nick Hornby's High Fidelity and About A Boy, and Louis de Berniere's Captain Corelli's Mandolin, to the big screen.
On top of this, the company's credits also include Elizabeth, Bean, The Guru, Ned Kelly and Thunderbirds. It recently released romantic comedies Wimbledon and Bridget Jones The Edge Of Reason and is in post-production on The Interpreter starring Nicole Kidman and is shooting a version of Pride And Prejudice on location throughout England.
It's a hugely impressive list of credits. In all, the company has produced more than 70 films since its launch in 1983, with a combined gross in excess of $2.5 billion worldwide; its films have won four Oscars and 20 Baftas. This year, the company was awarded the prestigious Michael Balcon Bafta Award for its contribution to the British film industry.
Eric Fellner - Working TitleCo-chairs Eric Fellner and Tim Bevan have run the company together since 1991. The plan, according to Fellner, was pretty straightforward when he joined: "We decided to make films for the international market place - about three to six a year."
Despite its famous name, the structure at Working Title is pretty lean. It employs just 42 full time staff, split between the main Working Title production arm and its low-budget offshoot WT2, run by Natascha Wharton, which since 1999 has produced films like Billy Elliot and Ali G Indahouse.
In terms of production, a strong emphasis is placed on development. Six people work sourcing, developing and honing projects in the UK, with another three in the US and one person in Australia.
The production department itself is six strong, and comprises two senior production executives, backed up by four staff, and is responsible for overseeing Working Title's films. This involves managing a film's budget and keeping the shoots on schedule.
Other key departments include a legal and business affairs team, headed by company chief operating officer Angela Morrison who is responsible for financing Working Title films and sorting out legal issues. She works with three full time lawyers on her team.
How does Working Title choose which films to make? Fellner says projects get championed by individuals in the development department and these 'percolate' their way up to the top. Bevan and Fellner then both take the decision on what to greenlight.
Although contractually they are allowed to give the go-ahead to any film with a budget of up to $25m, on a practical basis they do so in consultation with studio chiefs at Working Title's parent company -Universal, which itself is owned by giant US corporation Comcast.
Recruitment into Working Title is pretty rare. "The problem is that people don't seem to leave that much, so there are not a lot of opportunities to hire people," explains Fellner. However, the company has just started an intern programme which provides four trainees the chance to work in all Working Title departments over 12 month period. Working Title's literary executive Amelia Grange oversees the programme with Angela Morrison.
Review of 'About Time' (2013)
Following a summer season dominated by animation and action blockbusters, cinemas welcomed a more grownup programming mix after kids and teens went back to school after the long holiday. The reliable Richard Curtis delivered another box-office chart-topper, About Time, thanks to a debut of £1.76m, including £385,000 in Wednesday/Thursday takings. That's almost dead level with the opening salvo of 2009's The Boat That Rocked: £1.80m, including £471,000 in previews.
About Time
Production year: 2013
Country: UK
Cert (UK): 12A
Runtime: 123 mins
Directors: Richard Curtis
Cast: Bill Nighy, Billy Nighy, Domhnall Gleeson, Lindsay Duncan, Rachel McAdams, Tom Hollander
The Boat That Rocked was an expensively made film that ended up with a weak £6.2m total in the UK – a massive disappointment after the £36.8m success of 2003's Love Actually. About Time suggests itself as a tricky distribution challenge since the romance and comedy come with a time-travel sci-fi element, and also intimate family drama: great if all the genre hooks accrete; less so if they cancel each other out. On top of that, it's been a full decade since Curtis enjoyed a real box-office hit. The director's name is the strongest marketable ingredient in About Time since the protagonist is played by the talented but commercially unproven Domhnall Gleeson; co-stars Rachel McAdams and Bill Nighy also add value.
After encouraging results from advance "talker" free screenings, undertaken with various media partners, distributor Universal will be hoping that positive word-of-mouth will sustain About Time in the coming weeks, pushing its total ahead of that of The Boat That Rocked
Wednesday 5 February 2014
What is a British film?
UK films are films made by British companies and shot wholly or partly in the UK and/or films that qualify as British under Schedule 1 of the Films Act 1985 or under one of the UK's official co-production treaties.
Homework
Look at the website of the BFI to understand how they support the UK film industry.
Homework
Look at the website of the BFI to understand how they support the UK film industry.
Points to explore in your case study
You need to find out the following information about your chosen film:
Production: where did the finance come from?
What production companies have been involved?
What else have they produced?
Cast and crew: what else have they been involved in? Have they been UK based?
Distribution & Marketing:
Who is the distrbution company, who are they owned by, what else have they promoted?
How much money have they spent?
Marketing: who is promoting the film, what techniques have they used?
To what extent have they used digital technology in this ? facebook, TV promotions, radio, magazines, what else???
What audiences have they targeted, how can you tell?
Is it above the line or below the line marketing?
Exchange:
Where is this film being screened?
What sort of exhibition? Blanket? targeted?
What sort of cinemas is it screened at?
What does this tell us about the audience?
Is it exhibited in digital or film format? Why might this be?
Can you find a budget for this?
What makes this a UK film?
Which BFI category (a, b,c,d,e) does you film fit into?
What attracted it to you?
When you have watched it how does it represent UK?
Did you enjoy it?
Put links to articles, reviews, companies etc on your blog.
Production: where did the finance come from?
What production companies have been involved?
What else have they produced?
Cast and crew: what else have they been involved in? Have they been UK based?
Distribution & Marketing:
Who is the distrbution company, who are they owned by, what else have they promoted?
How much money have they spent?
Marketing: who is promoting the film, what techniques have they used?
To what extent have they used digital technology in this ? facebook, TV promotions, radio, magazines, what else???
What audiences have they targeted, how can you tell?
Is it above the line or below the line marketing?
Exchange:
Where is this film being screened?
What sort of exhibition? Blanket? targeted?
What sort of cinemas is it screened at?
What does this tell us about the audience?
Is it exhibited in digital or film format? Why might this be?
Can you find a budget for this?
What makes this a UK film?
Which BFI category (a, b,c,d,e) does you film fit into?
What attracted it to you?
When you have watched it how does it represent UK?
Did you enjoy it?
Put links to articles, reviews, companies etc on your blog.
Tuesday 28 January 2014
Overview of British Film Industry
British Film has been dominated by Hollywood since WW1. Any essay that discusses UK Film has to reference the cultural and ideological dominance of the Hollywood Film Industry to such as point that many cinema goers often will never see a film in any other environment than a multiplex cinema. They may also fail to recognise that many other countries have very successful film industries - this reflects a concept called the Hollywood Hegemony. Many Hollywood films are able to synergise two compatible products e.g. Star Trek / Angels and Demons are both a computer game and a feature film.
British Film can be defined on a number or levels (Culturally and Institutionally) e.g. commercially successful British Films like Slumdog Millionaire are only so because they are distributed by 20th Century Fox. Films like The Boat That Rocked are only commercially successful because they are distributed by Universal Studios. Independent films like Shifty and Looking for Eric can be categorised as British using Institutional and Cultural definitions. The UK Film Council often claim that films like Harry Potter are British and proudly incorporate them into their statistics but the key problem is that these films are distributed by Hollywood Studios like Warners / Parmount / Sony / 20th Century Fox which means much of the profit for these films is not ploughed back into the British Film Industry. For example, the most commercially successful ‘British’ film of the last 20 years is The Full Monty but this film was distributed by Fox Searchlight (the independent arm of 20th Century Fox.
American audiences often buy into the cultural stereotypes (exaggerated, hyper real representations) offered by many British films typified by the key collaboration between Working Title and Universal Studios. This successful collaboration has raised the profile and reputation of the British Film Industry with films like The Boat That Rocked and Atonement. Many of the settings and actors are familiar to American audiences and some British films like Notting Hill and Bridget Jones often have the additional familiarity of an American actor to ensure American audiences relate to the film e.g. as in Love Actually which was commercially successful in the states. Some ‘British’ recently have also been set in the U.S. e.g. How to Make Friends and Alienate People with Simon Pegg, an actor who is now well known to American audiences through Shaun of the Dead and Hot Fuzz (both Working Title and Universal Studios). Ricky Jervais has had similar success in the States.
Commercially successful British Films tend to have higher production values than smaller independent films often directed by an auteur like Mike Leigh (Happy Go Lucky) and Ken Loach (Looking For Eric) whose main aim is not necessarily to receive commercial success but to gain critical success. Many commercially successful Hollywood films of recent years have been sequels or prequels or part of a large franchise which has ensured audience familiarity through audience cultural capital i.e. they are again familiar with the texts. Blumler and Katz’s 1974 Uses and Gratifications Theory can also apply to major Hollywood Films (audience appeals) and also Propp and Todorov’s Theory of Narrative Structure. The major Hollywood Studios form an oligopoly of ownership dominating global markets and ensuring commercial success by saturated advertising campaigns which many British Films cannot compete with. Many films become Event Movies as audiences are hooked by key dates that films will be released on e.g. Star Trek and the latest Harry Potter. Hollywood has often re-invented itself over the years to maintain this dominance e.g. it developed the idea of the High Concept Film like Avatar (3D) distributed by 20th Century Fox which could be easily marketed to Hollywood studio executives in one sentence. Hurt Locker achieved the Best Picture Oscar in 2010.
Star marketing is another way in which Hollywood Studios attract mass audiences but also through the type of films being offered – this is called genre marketing. British Film tends to focus on commercially successful genres like the Period Drama and the RomCom while British Film’s critically successful genre is Social Realism. Non realist Hollywood escapist films like Avatar, Lord of the Rings and Harry Potter belong to the successful fantasy genre while another key success in terms of genre in Hollywood would be Science Fiction (2012). Many Hollywood Studios/Distributors are now owned by Multi National Conglomerates like the News Corporation who own 20th Century Fox, Sony who own Columbia Tri Star (Angels and Demons) and MGM and Viacom who own Paramount (Star Trek).
There are a number of successful production companies in the UK who are responsible for making (producing) a number of commercially successful films e.g. Working Title, Granada (The Queen) and Eon (Bond Films) but the UK remains an industry that is production led with emphasis on the narrative as opposed to Hollywood films which benefit from wide or saturated distribution with emphasis on ‘the look’, glossy mise-en-scene combined with star marketing and significant narrative action codes. Independent British Films like This is England tend to offer more realist representations which explore complex narrative themes while UK Films that collaborate with H-wood studios often have positive outcomes to appeal to mass audiences. British Film have benefited (only critically) from a range of independent distributors e.g. Optimum (This is England), Icon (Looking for Eric) and Vertigo (Football Factory) although Vertigo in 2009 collaborated with Hollywood with their first UK/US film – The Firm which was a remake of the 1989 Alan Clarke film with a young Gary Oldman playing a football hooligan, a culturally British storyline used many times before in Green Street, ID and Football Factory.
Another key collaboration for British Film has been between Film4 and the UK Film Council (now a disbanded Quango) on several films including This is England and Looking for Eric. This ensures another site of exhibition (Film4) who along with the historical UK Film Council’s Funds (Premiere Fund, New Cinema Fund, Development Fund and Prints and Advertising Fund) are looking to sustain success within the British Film Industry. The UK Film Council’s role has now been subsumed by the BFI. European collaborations with Pathe (French Distributor) & Canal+ in recent years e.g. The Duchess have also helped to extend the reputation of the industry. Film festivals like Cannes (France) are also an opportunity for films like Ken Loach’s Looking for Eric and in 2006 The Queen with Helen Mirren to represent the prestige of British Film and to enhance the reputation of the industry.
In 2010 Four Lions (Film4 funding, independent distribution, written by ‘Brass Eye’ Chris Morris) premiered at film festivals to guarded critical acclaim due to its controversial content and narrative themes of terrorism and suicide bombings. In October the London Film Festival showcased a number of new British Films and World Cinema. The Last King of Scotland opened the 2008 LFF which was then picked up and distributed by Fox Searchlight. British Film has been through a form of renaissance (re-birth) since the 1980s and offers, as Jill Nelmes suggests in ‘An Introduction to Film Studies’ a number of “disparate films, genres and movements”.
British Film can be defined on a number or levels (Culturally and Institutionally) e.g. commercially successful British Films like Slumdog Millionaire are only so because they are distributed by 20th Century Fox. Films like The Boat That Rocked are only commercially successful because they are distributed by Universal Studios. Independent films like Shifty and Looking for Eric can be categorised as British using Institutional and Cultural definitions. The UK Film Council often claim that films like Harry Potter are British and proudly incorporate them into their statistics but the key problem is that these films are distributed by Hollywood Studios like Warners / Parmount / Sony / 20th Century Fox which means much of the profit for these films is not ploughed back into the British Film Industry. For example, the most commercially successful ‘British’ film of the last 20 years is The Full Monty but this film was distributed by Fox Searchlight (the independent arm of 20th Century Fox.
American audiences often buy into the cultural stereotypes (exaggerated, hyper real representations) offered by many British films typified by the key collaboration between Working Title and Universal Studios. This successful collaboration has raised the profile and reputation of the British Film Industry with films like The Boat That Rocked and Atonement. Many of the settings and actors are familiar to American audiences and some British films like Notting Hill and Bridget Jones often have the additional familiarity of an American actor to ensure American audiences relate to the film e.g. as in Love Actually which was commercially successful in the states. Some ‘British’ recently have also been set in the U.S. e.g. How to Make Friends and Alienate People with Simon Pegg, an actor who is now well known to American audiences through Shaun of the Dead and Hot Fuzz (both Working Title and Universal Studios). Ricky Jervais has had similar success in the States.
Commercially successful British Films tend to have higher production values than smaller independent films often directed by an auteur like Mike Leigh (Happy Go Lucky) and Ken Loach (Looking For Eric) whose main aim is not necessarily to receive commercial success but to gain critical success. Many commercially successful Hollywood films of recent years have been sequels or prequels or part of a large franchise which has ensured audience familiarity through audience cultural capital i.e. they are again familiar with the texts. Blumler and Katz’s 1974 Uses and Gratifications Theory can also apply to major Hollywood Films (audience appeals) and also Propp and Todorov’s Theory of Narrative Structure. The major Hollywood Studios form an oligopoly of ownership dominating global markets and ensuring commercial success by saturated advertising campaigns which many British Films cannot compete with. Many films become Event Movies as audiences are hooked by key dates that films will be released on e.g. Star Trek and the latest Harry Potter. Hollywood has often re-invented itself over the years to maintain this dominance e.g. it developed the idea of the High Concept Film like Avatar (3D) distributed by 20th Century Fox which could be easily marketed to Hollywood studio executives in one sentence. Hurt Locker achieved the Best Picture Oscar in 2010.
Star marketing is another way in which Hollywood Studios attract mass audiences but also through the type of films being offered – this is called genre marketing. British Film tends to focus on commercially successful genres like the Period Drama and the RomCom while British Film’s critically successful genre is Social Realism. Non realist Hollywood escapist films like Avatar, Lord of the Rings and Harry Potter belong to the successful fantasy genre while another key success in terms of genre in Hollywood would be Science Fiction (2012). Many Hollywood Studios/Distributors are now owned by Multi National Conglomerates like the News Corporation who own 20th Century Fox, Sony who own Columbia Tri Star (Angels and Demons) and MGM and Viacom who own Paramount (Star Trek).
There are a number of successful production companies in the UK who are responsible for making (producing) a number of commercially successful films e.g. Working Title, Granada (The Queen) and Eon (Bond Films) but the UK remains an industry that is production led with emphasis on the narrative as opposed to Hollywood films which benefit from wide or saturated distribution with emphasis on ‘the look’, glossy mise-en-scene combined with star marketing and significant narrative action codes. Independent British Films like This is England tend to offer more realist representations which explore complex narrative themes while UK Films that collaborate with H-wood studios often have positive outcomes to appeal to mass audiences. British Film have benefited (only critically) from a range of independent distributors e.g. Optimum (This is England), Icon (Looking for Eric) and Vertigo (Football Factory) although Vertigo in 2009 collaborated with Hollywood with their first UK/US film – The Firm which was a remake of the 1989 Alan Clarke film with a young Gary Oldman playing a football hooligan, a culturally British storyline used many times before in Green Street, ID and Football Factory.
Another key collaboration for British Film has been between Film4 and the UK Film Council (now a disbanded Quango) on several films including This is England and Looking for Eric. This ensures another site of exhibition (Film4) who along with the historical UK Film Council’s Funds (Premiere Fund, New Cinema Fund, Development Fund and Prints and Advertising Fund) are looking to sustain success within the British Film Industry. The UK Film Council’s role has now been subsumed by the BFI. European collaborations with Pathe (French Distributor) & Canal+ in recent years e.g. The Duchess have also helped to extend the reputation of the industry. Film festivals like Cannes (France) are also an opportunity for films like Ken Loach’s Looking for Eric and in 2006 The Queen with Helen Mirren to represent the prestige of British Film and to enhance the reputation of the industry.
In 2010 Four Lions (Film4 funding, independent distribution, written by ‘Brass Eye’ Chris Morris) premiered at film festivals to guarded critical acclaim due to its controversial content and narrative themes of terrorism and suicide bombings. In October the London Film Festival showcased a number of new British Films and World Cinema. The Last King of Scotland opened the 2008 LFF which was then picked up and distributed by Fox Searchlight. British Film has been through a form of renaissance (re-birth) since the 1980s and offers, as Jill Nelmes suggests in ‘An Introduction to Film Studies’ a number of “disparate films, genres and movements”.
Monday 27 January 2014
The process of film making
What processes do you think are involved in film making in the UK?
Pre Production
finance, casting, location, production
Production
Filming
Post production
editing, special effects.
Marketing/promotion
Distribution
Exhibition.
You need to find out as much as possible about these processes for your case study film.
Pre Production
finance, casting, location, production
Production
Filming
Post production
editing, special effects.
Marketing/promotion
Distribution
Exhibition.
You need to find out as much as possible about these processes for your case study film.
What are we aiming for?
You need to know how films are produced and distrbuted in this country.
The infrastructure behind the funding & producing & the techniques used to market & distribute them.
You need to know a little bit of the history of production & distribution, if only to help you understand how these aspects have changed in the last 5 years with the advent of new technology (digital technology and the internet mostly).
We will study Working Title in more detail but you all need to conduct a case study of your own.
You will then present this study to the rest of the class.
Once you have shared this information you will all have a good set of examples you can use to support your answers.
This is what you are ultimately aiming for, to be able to answer questions of this nature.
1. Discuss the ways in which media products are produced and distributed to audiences within a media area, which you have studied.
2. How important is technological convergence for institutions and audiences within a media area you have studied?
3. Media production is dominated by global institutions which sell their products and services to national audiences. To what extent do you agree with this statement?
4. What significance does the continuing development of digital media technology have for media institutions and audiences?
5. Discuss the issues raised by media ownership in the production and exchange of media texts in your chosen area
1. Discuss the ways in which media products are produced and distributed to audiences within a media area, which you have studied.
2. How important is technological convergence for institutions and audiences within a media area you have studied?
3. Media production is dominated by global institutions which sell their products and services to national audiences. To what extent do you agree with this statement?
4. What significance does the continuing development of digital media technology have for media institutions and audiences?
5. Discuss the issues raised by media ownership in the production and exchange of media texts in your chosen area
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