4. A conglomerate that can
produce its own
merchandise, video games,
music, comics, books, sell
them on their own website,
shops/parks. This is called…
11. The change is audience
patterns suggests which
age group is going to the
cinema the most
12. Some say that the British film industry is
approaching its death. Do you agree?
• Does your case study prove the industry is dying or is it successful?
• Do the classifications of British films offer any help to rejuvenate the
industry?
• Would Doyle and Lord Smith agree or disagree with this statement?
• What has helped or hindered the film’s success?
• How has the changing ways institutions can market the film been
exploited by your case study?
• The British film industry is mostly independent.
• Inbetweeners 2 - How was the film’s success boosted by the TV
programme and the first film (pre-audience)?
13. Level 4
Explanation/analysis/argument (16-20 marks)
Shows excellent understanding of the task
Excellent knowledge and understanding of institutional/audience
practices – factual knowledge is relevant and accurate
A clear and developed argument, substantiated by detailed reference to
case study material
Clearly relevant to set question
Use of examples (16-20 marks)
Offers frequent evidence from case study material – award marks to
reflect the range and appropriateness of examples from case study
and/or own experience
Offers examples which are clearly relevant to the set question
Use of terminology (8-10 marks)
Use of terminology is relevant and accurate
Complex issues have been expressed clearly and fluently. Sentences and paragraphs,
consistently relevant, have been well structured, using appropriate technical
terminology. There may be few, if any, errors of spelling, punctuation and grammar.
14. • Category A: films made with British money, personnel and resources.
• Category B: films co-funded with money from Britain and from foreign
investment, but the majority of finance, cultural content and personnel are
British.
• Category C: films with mostly foreign (but not USA) and a small British input,
either financially or creatively.
• Category D: films made with the UK with (usually) British cultural content, but
financed fully or partly by American companies.
• Category E: American films with some British involvement.
15. What impacts the way films are produced,
marketed, distributed and viewed by
audiences?
Terminology
Independent company, commercial institution, studio system, social media,
audience consumption, technological convergence, digital revolution
16. • There is no coherent British film industry in the way that radio
programmes or books are produced, distributed and sold in Britain.
• There is no large film company which can, from its own turnover and
backers, finance movies – least of all for distribution on a global scale.
• Finance for British films is cobbled together from a variety of sources.
Predominantly, money comes from the US majors.
• Television may also provide some funding. Channel 4 has been a
relatively significant supporter of low-budget British films.
• The BBC puts only 1 per cent of its budget into film production.
• The British National Lottery has also given some money, to be
administered through the UK Film Council.
• What are legally defined as British films (and so eligible for certain tax
concessions) may be made largely by British workers, but often are
funded by US money – companies such as Miramax.
17. Doyle (2002)
‘The small size of the domestic UK market
and the disaggregated structure of the
industry prevent the indigenous
production sector [British film makers]
from growing beyond a cottage
industry.’
18. Doyle v The Lord Smith Report 2012
LORD SMITH REPORT (2012)
Bring film education into every school.
Encourage major broadcasters (on TV) to invest more in the screening,
acquisition and production of independent British films.
Stage an annual "British film week".
Ensure a more collaborative approach between producers, directors
and distributors and reinvest money from successful movies into further
production.
Strengthen investment in training and skills development.
Broaden access to films in remote and rural areas by providing
equipment and facilities to local film societies and community halls.
Renew efforts to combat piracy.
Doyle: the British film industry will never grow; it is a ‘cottage industry’.
19. Assessed homework task
Some say that the British film industry is
approaching its death. Do you agree?
• Does your case study prove the industry is dying or is it successful?
• Do the classifications of British films offer any help to rejuvenate the
industry?
• Would Doyle and Lord Smith agree or disagree with this statement?
• What has helped or hindered the film’s success?
• How has the changing ways institutions can market the film been
exploited by your case study?
• How was the film’s success boosted by the TV programme and the first
film (pre-audience)?
• The British film industry is mostly independent. Is Bwark typical of an
independent film maker?
1000 words, 12pt typed by Friday 13th February, 2015
20. Who are The Big 6 & mini
majors?
What are their subsidiary companies?
21. Frozen (2013) (Disney – The Walt Disney
Company) $1,274,219,009
Transformers 4 (2014) (Paramount –
Viacom) $1,091,405,097
Fast and Furious 7 (2015)(Universal –
NBC) $1.1 billion worldwide
A Field in England (2013)–
Channel 4 & Rook Films
$32,846 13 cinemas
Alan Partridge: Alpha Papa
(2013) Baby Cow Films
$9,727,099 22 theaters
The Worlds End – Working Title –
Universal
$46,089,287
The Theory of Everything (2014)–
working title – Universal
$121,201,940
Whiplash (2014) Bold Films,
Blumhouse Productions, Right of
Way Films. Distribution – Sony
$13,092,000
Saving Lincoln (2013) Pictures from
the Fringe Lane Street Pictures
(budget $700,000)
26. Vertical
Integration
Technological
Convergence
Web 3.0 Vertigo Conglomerat
e
Disney Viral/ARG Production A Field in
England
The World’s
End
Aspect ratio Proliferation Horizontal
Integration
Frozen Digital
Screen
Network
Distribution Whiplash VOD Synergy UK Film
Council
Marvel Cross Media
Convergence
Exhibition Sundance
Festival
BFI
31. Vertical
Integration
Time Warner Convergent
Technology
Vertigo Conglomerat
e
Disney Viral/ARG CBS A Field in
England
The World’s
End
Aspect ratio Proliferation Horizontal
Integration
Frozen Web 2.0
Synergy Whiplash Viacom GE UK Film
Council
Marvel Prosumer Exhibition Sundance
Festival
BFI
32. Web 2.0 Technological
Convergence
Convergent
Technology
Vertigo Consumption
Disney Prosumer Production A Field in
England
The World’s
End
Aspect ratio Proliferation Rook Films Frozen Digital
Screen
Network
Ownership Whiplash The Riot Club Synergy UK Film
Council
Marvel Cross Media
Convergence
Exhibition Sundance
Festival
BFI
35. Vertical
Integration
Web 2.0 Convergent
Technology
Vertigo Conglomerat
e
Disney Viral/ARG Production A Field in
England
The World’s
End
Aspect ratio Below the line Horizontal
Integration
Frozen
Distribution Whiplash Synergy UK Film
Council
Above the
line
Cross Media
Convergence
Promotions Sundance
Festival
BFI
38. Film Rights Technological
Convergence
Convergent
Technology
Vertigo Conglomerat
e
Disney Viral/ARG Star Wars A Field in
England
The World’s
End
Aspect ratio Proliferation Horizontal
Integration
Frozen Vue
Distribution Whiplash VOD Web 2.0 UK Film
Council
Marvel Cross Media
Convergence
Exhibition Sundance
Festival
40. Vertical
Integration
Star appeal Convergent
Technology
Vertigo Conglomer
ate
Disney Viral/ARG Production A Field in
England
Prosumer
Aspect ratio Web 2.0 Horizontal
Integration
Frozen Digital
Screen
Network
Distribution Whiplash VOD Consumpti
on
Marketing
Web 3.0 Cross Media
Convergence
Below the line Sundance
Festival
BFI
42. Gross Technological
Convergence
Convergent
Technology
Vertigo Box Office
Mojo
Disney Web 2.0 Production A Field in
England
The World’s
End
Aspect ratio Proliferation Web 3.0 Frozen
Distribution Odeon Tyneside
Cinema
Synergy UK Film
Council
Marvel Bollywood Exhibition Time
Warner
BFI
43. Vertical
Integration
Above the line Convergent
Technology
Vertigo Conglomerat
e
Disney Viral/ARG Production A Field in
England
The World’s
End
DVD’s Publicity Horizontal
Integration
Frozen Digital
Screen
Network
Distribution Below the Line VOD Synergy Blu-Ray
Piracy Cross Media
Convergence
Exhibition Prosumer BFI
