1. Media Institutions
 You will understand how Media Institutions attract
local and national audiences and the issues
surrounding marketing
 You will be able to apply your knowledge of your case
studies in greater detail and with greater relevance.

2. How do Media Institutions attract local and national
audiences and what issues surround the marketing of
their films?
• You need to begin applying knowledge of your film to answer
the question, rather than talking about everything you know
about Working Title/Film 4.
• Use your knowledge of the industry to enhance your answer,
rather than using it to attempt to answer the question.
• Without knowledge of your own recent film release, you will
not be using relevant examples. As a result, you will struggle to
achieve higher than Level 2.
• I found all of this about Tinker Tailor Soldier Spy in about an
hour. You have no excuse for not doing the same.

5. The trailer
Targeting local and national audiences
The technologies that have been introduced in recent years at the levels of production,
distribution, marketing and exchange
The importance of technological convergence for institutions and audiences

6. ‘With Tinker Tailor Soldier Spy, I think we’ve made
a film about loyalty and ideals, values that are
extremely relevant – perhaps mostly because they
are so rare these days?’
Thomas Alfredson
Director
Why is this quotation important?
• Who decided that the values of loyalty and ideals are important?
• Does this statement suggest the film has an underlying ideology?
• What issues about audience arise from this quotation?

7. “For me, this secret world was also a metaphor for
the larger world in which we all live; we deceive one
another, we deceive ourselves, we make up little
stories, and we act life rather than live it.”
John Le Carre
Author, Tinker Tailer Soldier Spy

8. Gary Oldman
• 2011 Empire awards:
honoured with the Icon
Award for Achievement
• 25 years in film industry
playing some incredibly
iconic roles
• Commissioner Gordon
(Batman)
• Sirius Black (Harry
Potter)
• 11 movies at number 1
(in last 18 years)

9. What the IMBD says…
Genre: Thriller
Release: 16 September, 2011
Filmed: Hungary, Turkey, London
Budget: £20,000,000 (20 million)
Opening W/E: £2,814,660 (382 screens) (UK)
Gross: £13,538,928 (Nov, 2011) (UK)

10. What the IMBD says: Production
Studio Canal
Karla Films (co-production)
Paradis Films (co-production)
Kinowelt Filmproduktion (co-production)
Working Title Films (co-producer)
Canal+ (support)
CinéCinéma (support) (as Cinecinema)
Ownership and Practice: Commercial company – synergy partnerships
Local and national audiences: is there a loss of national identity in the film?
The ways in which the candidates’ own experiences of media consumption illustrate
wider patterns and trends of audience behaviour.

11. What the IMBD says: Distribution
• StudioCanal (2011) (UK) (theatrical)
• E1 Films Canada (2011) (Canada) (theatrical)
• Entertainment One Benelux (2011) (Netherlands) (theatrical)
• Focus Features (2011) (USA) (theatrical)
• ITI Cinema (2011) (Poland) (theatrical)
• Shaw Organisation (2012) (Singapore) (theatrical)
• Starway Film Distribution (2012) (Belgium) (theatrical)
• StudioCanal (2012) (Germany) (theatrical)
• Ascot Elite Entertainment Group (2011) (Switzerland) (all media)
• DeA Planeta Home Entertainment (2011) (Spain) (all media)
• Deltamac Entertainment (2011) (Hong Kong) (all media)
Ownership and Practice: Commercial company – synergy partnerships
Local and national audiences: is there a loss of national identity in the film?
The ways in which the candidates’ own experiences of media consumption illustrate
wider patterns and trends of audience behaviour.

12. What the IMBD says: Technical
Film negative format (mm/video inches)
35 mm (Fuji Eterna 500T 8573, Reala 500D 8592)
Printed film format
35 mm (anamorphic)
D-Cinema
Ownership and Practice: distribution of 35mm v cheaper independent
companies
The technologies that have been introduced in recent years at the levels of
production, distribution, marketing and exchange
The importance of technological convergence for institutions and audiences