‘Section B: Institutions and Audiences: Candidates should be prepared to understand and discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions. In ‘addition, candidates should be familiar with: 1 1. the issues raised by media ownership in contemporary media practice; ' ae + the ways in which the candidates’ own experiences of media consumption ilustrate wider 7 patterns and trends of audience behaviour. ‘This unit should be approached through contemporary examples in the form of case studies based upon one of the spectied media areas, Examples may include the folowing:Practice Exam Questions Answer the questions below, making detailed referance to examples from your case study material to support the points made in your answer. 1. "Successful media products depend as much upon marketing and distribution to a specific audience as thy do upon good production practices.” To what oxtent would you agroe with this statement, within the media area you have studied? (June 2011) 2." 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? (January 2010) ‘3. To what extent is production, marketing and distribution important for ‘an institution's euccess in the British marketplace? 4, How important is technological convergence for institutions and ‘audiences within a media area which you studied? 5, To what extent have audiences influenced and affected an institution which you have studied? 6. Discuss the issues raised by an institution's need to target specific ‘audiences within a media industry which you have studied. 7. To what extent has exhibition and exchange affected an institution which you have studied?We will study both of these British flm production companies, looking ata typical film text from each and building a case study on both institutions relation to Production, Distribution and Exhi eon@yu: vs “| Fil i Forever SELFISH GIANT7 fa i Re-branding information: Head(s) of company: Productionidistribution or both?: ‘Are they owned by a bigger institution or do they ‘parented’ by anyone else? ‘Average budget per film: “Typical genre frequently produced? Notable fms: ‘Awards won’ “Average number of fims made per year if this has changed notably over a period of time then mention it) Regular actorsidirectors associated with their lms Exhibition - multiplex cinema or art-house cinema? ‘Success of films in Britain and overseas (esp USA) Money gross since founded?FILM 4 ETHOS + To develop (new) British Talent and be @ leader of innovation in the British Film industry + To invest around £500,000 per film, at arate of around 20 films a year + To support international, (includi ‘Americon) independent ‘line makers by co- investing in innovative and interesting foreign films. + To offer a platform for British and independent cinema on terrestrial television by commiting to showing each one of Film Four Productions films on Channel 4 and it's sister station Film Four. Are there any obvious advantages Film 4 has when compared to other independent production companies? CROSS-MEDIA CONVERGENCEFilm Forever ‘We welcome applications for fim projects inal genres, and we are committed to promoting diversity in the fimmakers we support, the stories they tall and the audiences they reach, We also support independent UK distributors to help ensure that the best British and specialised fms ‘connect with a wide range of audiences across a range of platforms. We support sales companies that ‘are launching new UK tls at key international fim festivals and markets.n invests in neredsng aoess to, and awareness of, high quality Brit alised isin onder Boost aience choice nd to enrich fim culture UK-wide We sito do thi in wo hy way ‘By supporting the dstrbuton launch of fms that have the potntl to reach beyond their core markt. 'By championing fresh approaches in dstrbuton and marketing that wil hep fms ind now Ba Funding strands ‘Tree ar four dsrbton nrg sean, ac special deg 0 acess teen ype of i and he socal chaenges ar opporuniin nthe merece significant ewards fe support anbibous leases ofa Bh fins with tho eK auance ‘inporing nereasedausanca each er exemoary independant Bish and sippoc oxbBlna smotiousolease modes na crate marsting ot new opporuntos ouside waclealheatrcalaré mafatng routes. teat "inlet tat hae schaveseneaptoxal wack Dooce whe expectations,BF ienc People throughout the UK love watching ims. However, the choice of film available to audiences is narrower than it shouldbe. This is especially true outside of central London where on average only 7% of soreens are dedicated to specialised fm, Additionally, amid the growing complexity of the digital world, there isa dangor that it willbe Increasingly dificult for audionces to pick out and find the fm they seek. In this environment, the Vsibilty and availabilty of British fim in cinemas and online suffers and potential economic success is ‘ot maximised. ‘The Film Policy Review rightly asserted that respecting and understanding the audience isthe key to ‘making audiences grow. Our audience strategy recognises and addresses the increasing complexity ‘of multiple platforms and seeks to ensure audiences are both empowered and find a greater choice of film whether online, in the home, in the cinema or on the move.Funding for first-time directors Airectors (and which are ‘The Film Fund now seleets features fom first budgeted under £2,000,000) at quarterly intervals. ‘Supporting new fmakes i a pity for he Fi Fund, and we receWve a high volume of applications, 80 we have found & beneficial 0 look at tuese applications al the same tm. We bllove ‘hata more structured approach alows us to provide successful applicants with th ight evel of tater calaboration and eupport in raising finance, Appleatons a welcomed st anytime but wil be assesoed after tha relevant daadlines for submationa and according o ast process wrich wil slide meetings with -makers This fund is a springboard for British fim exports, designed to help British fms make sales abroad when they're selected for important international festival. The fund can help sales agents with a film's publicity and marketing, as well as with the technical ‘and logistical costs of appearing at a high-profile festivalYalue of UK tax relief For firs wth a total oo expenditure of £20 milion or less, th fim production company can claim payable cash rebate of upto 25% of UK quaking fm production expendtze or fis wth core expencitre of more than £20 milion, te fim production company oan clam payabie each reba of o 208% of UK quliyng im proton experts Accessing UK tax relief “Tax relief is avalabe fr British qualifying flms. Films must either pass the Cultural Test or ‘ually a8 an official co-production; ims must be intended fr theatrical ease Films, inctuding those made unde oficial co-production treaties, must reach a minimum UK spend requirement of 25%; “Tax rol valle on qualiying UK production expenditure onthe lower of ether: 803% of total Core expencture; or he actual UK coe expenditure incurs ‘Tere sno cap on the amount which can be claimed. “The FBC responsible forthe fn neo tobe within the UK corporation tax net[mere ire pe feene wm rsa ferate Trnrans fein frronon Bae pom fm Joven frame fron a ooTho Selfish Giant Brief synopsis: Genre: Reloase date: Director: Main cast: Major Star? Production companies Distribution companies (not just UK) Budget Money made at UK box ofice: Money made at USA box office: [Number of cinemas released in (UK) [Number of cinemas released in (USA) Cinema run dates (from-to) ovo DvD cross (UK): 35 gross (word): Worldwide gross to date: myers eeN tana a a Key Questions: ‘What challenges do British films face? “What systems are in place to assist? Can a truly independent British film industry really exist?‘The Selfish Giant (2013) Di Clio Barnard Produced by: fink moonspun lanl %, Hine i" ieee Se Film seer Budget: £1.4mil Distributed by: Sacked by the BF Film Fund and Film and developed with ‘Suppor tom both Film and the BF, The Selfish Giants a Moonspun ims prodition ‘Aer premiering a Cannes inthe iector's Fortnight in May 2013, ‘was released inthe UK by Artificial Eye In October 2013 andis out ‘on DVD & Bivay now. [A the Batts in 2074, the film was nominated in the Outstanding ntSources of public funding BFI Film Fund (Distribution and Production) PUbliofundinglas a percentage of total budget |/48 Domestic Gross Total £314,719 Domestic Gross Opening Weekend. £81,737 Widest Point of Release (No. of cinemas) 35 Distributor (UK) Artificial Eye Production Company Moonspun Films Ltd UK What does the source of funding say about the British Film Industry?What genre is the film? Who is the target audience?The Selfish Giant was distributed by Artifical Eye Artificial Eye is a British film distributor, specialising in foreign-language and art house films for cinema and home entertainment. Since 2006, Arti Eye s part of Curzon World 2 {group of companies in the tim entertainment industry ‘which also includes the Curzon chain of seven teinemas plus eight joint venture cinemas, video on. ‘demand service Curzon Home Cinema, the retail DVD_ ‘istnbutor Fusion Media Sales, and horror film sistibulor ‘Chelsea Films (launched in 2010).What part did Artificial Eye play in the distribution of The Selfish Giant?tee thee IN CINEMAS & ON DEMAND NOW = + FIND YOUR NEAREST CINEMA + + WATCH ON DEMANDArtificial Eye to distribute The Selfish Giant in the UK & Ireland. UK theatrical release: 25th October 2013. ‘The fim is being screened at the following cinemas: Curzon Soho, Curzon Renoir, Curzon Richmond, HMV Curzon Wimbledon, Phoenix East Finchiey, Greenwich Picturehouse, Screen on the Green, Everyman Hampstead, Hackney Picture house, Ritzy Brixton, Rio Daiston, Tricycle Kilburn, Manchester ‘Comerhouse, Bradford Pictureville, DCA, IF, Edinburgh Filmhouse, Bristol Watershed, Sheffield ‘Showroom, Nottingham Broadway, Glasgow Fiim Theatre, Cambridge Arts Picturehouse, Newcastle ‘Tyneside, Brighton Duke of Yorks, Leeds Hyde Park‘The Selfish Giant 20:3) at Release Info Showing a 25 tems Release Dates ‘czech Republic Braz usa Ireland usa. Spain France sweden £28 dune 2013. (Karlovy Vary Film Festival) 7 duly 2013 Gerusaiem fm Festival) 26 September 2013 (Rie e Janeiro International Flim Festival) 41 Octaber 2013. (Warsaw lm Festival) 11 october 2013 (Hamptons International Fm Festv 25 October 2013, 25 October 2013 7 November 2013 (Stockholn International Film Festival) 15 November 2013 (Seville European Fil Festival) 38 December 2019 30 January 2014 14 Maren 2014Opening Week ww Mowe Weekend Gross Change Theaters Change / Avg. Gross-o-Date Week 752 +30 £3,252 £7,893,285 2 (2276 8657738 mR esa 6499290 1 41 Turbo 4,323,349 66.0% 547 +19 E2419 66204269 2 su a a | (6 N Onechance = TATISGG == 7007875661 7 3 Escape Pian £499,655 48.0% = £1,380 €2,002296 2 8 4 Prisoners £316,572 44.6% 342-70 £525 66,750,700 5 95 Sunshine on Leith £254,097 459% 253 96 Lom EaReO4 4 10 6 Blue Jasmine £212,661 41.0% 17-91 1201 64,555,907 5Week 2 we ie Weert ge Temes OB! OS ee 2. 2 Candy ware Coannet Mena SS LiSesiemsi 31 Coun Pen = Soe wee eee 4 Turbo 1351532 106% 529-18 «2555 coe029% 3. Jackass Presents: Bad Grandpa 974,913 50.6% 380 +8 £2,566 64,086,378 5 Ender's Game £469,012 60.1% 20-2 E117 e2480432 Fox "va va 6 One Chance ne £339,649 524% 360-2394 £1,876,767 7 Escape Pian va 4185917 com 203-159 916 2533,901 Disney va 10 16 Monsters University E2713 43% 26 42 ES E29825202 17 (em am (@ 5 a0 amz 2Week 3 ‘Movie Weekend Gross Change Theaters Change / Avg. Gross-to-Date Week re or ‘£2,978, 1 65.4% Pee noo Vm 2 ise com 4 3 Captain Phillips £1,069,457 33.7% S42 +45 £1,973 £13,410,225 4 ln ee 6 6 Jackass Presents: Bad Grandpa (£675,001 -20.4% ‘£1,885 —£5,295,851 3 ‘ix mt nS le Goa a wut a ae ce | v7 ee ao Lo om | : ws On ae oa [iit S-3:2=:sundance SELECTS tl of tal laarsy ‘The Selfish Giant was picked up by Sundance Selects the sister division of IFC Films IFC Films (Independent Film Channel) Is an American film distribution company based in NY owned by AMC Networks It distributes independent films and documentaries Are there any notable comparisons between the US distribution of the films we have studied, and success at the US box office? Evidence?Bota Gross: $12,189 ita FE te Ot Decamver 20,2013 onanaing: NotYet rode use A ON ey SS oo 2013 (etna EE ole Tem Owens como MY 2014 taaevevoug "Ses! ole Tate Seats oom cont me RSE Coeind Fey cea asor (acon wna baton) ca “tind al Foreron Tova. “An nwa sel cut ane sas asim a86482 aoe Lis #2356 3s $119494- 2914 sau Worldwide Total Gross: £882,092Several elements can be used in marketing to generate interest in afm, : posters Marketing = 4 tz %TrailerCE rISH GIANT 1FIND ‘CINEMAS Imay ot ay mo “2 Follow av 136 116 437 Artificial Eye ‘TheSelfishGiant screens as part of ©1BFI's Focus on Gio Barnard season which begins this evening with a special Q&A. bit.!y/imYguGO‘The Selfish Giant has been nominated for a BAFTA for Outstanding British Film 2014. To date The Selfish Giant has won the following prestigious awards: (Cares Pi Fosial-Evopa Chena LabeGFBOEUBAIN ‘Sos Fin Festa Fs ‘Dinard Fim Festal - Le Hitchcock D'Or Award or Best Fi, Prix “Coup de Coeur & ix de image (Beet Crematograpty) ‘teen de Luz tm fetal - Gana Pras tangs rater Fn Fetal - 8 ad her Fn Festal Grn Pat "A Fan Aa Rss New Rat or Drcton [FA awars Technical Acheveren for Casting ‘Toate The Sesh Giant has been nominated fo the following awards: ‘South Bank Sty Ants Auares- Best Fim "London Gris Grete - Set Brits Fim, Best Newcomer Conner Chapman and Shaun Thomas LFF Bost Fim and Best Newcomer - Conner Chapman, Shaun Themis ‘BFA Best Fim, Best Drectr, Best Screens, Best Supporting Actress, Best Newcomer, Best [Aenevereat in Production, Best Tetncal Acnevernent‘Wi cnezne sn bt mare an apres ae ‘tn tiiuanneaya cts anton ‘Wer etme nav hr bea a ver ‘dagn hans harmaemum na Sara ScSthe he ma Dawah whe oeny oom. Save wieenesiner jorge sce moat hae wbersacang t= = ‘Seganyoupoiosentinie tp, aden ey rece Th Now ore ‘sti Rooney Span sane eotry wena rece opm, ‘tte cme Ns eazecay nb angasi rer ges ore one o| “Sono roo as coarse estes ‘Seaton nats The Sah ar ye 8 ‘apetae wor gest bowr re B= “nw Sot Gat sty alpen, (droge rd onpron wth ge (enrtrmess aso seevott sno ‘Simetnod an onemen on agoKermode Uncut Mark Kermode's film blog)“Relate these four areas back to our two key texts: About Time The Selfish Giant 8 PositionVS =a Ne ING Crea 5 Cec Cee eee ee rea Cees ra eet CUES) Tee) Tres an) Ura ete) Cierra eer) rae orn)Do a SWOT analysis of ‘Selfish Giant' using the table below.FOCUS, receipts in 2013 were 'm, down 1% on 2012. ‘dmissions reached 3, down 4% on 2012. re released for a week ye UK and Republic, 20% of releases and rarket by value. seshare of UK ‘films was 7%. flms camed 91% of «office, very similar to vere released in ‘nd in 2012; their 3D Unted for 18% of UK of reland box office fesame as in 2012, ‘de with the backing studios spent longer ms, on average, in UK 013 UK films’ share of the global box office 11% UK box office UK cinema admissions 165.5m f£1.1bn UK production activity £1.1bn ‘The UK isthe third larges ‘market in the world, gene revenues in excess of £4 8 CCinema-going was the m: significant component of value chain in 2013, gene revenues of 1.1 billion, FACTS IN FOCUS: ‘The total filmed entertainn market in the Uk in 2013 8 fanestimated £4 billion, the inzoi2, Terrestrial and multi-chan television and VoD revenue recorded increases, but the ‘hysical video and pay tele Teveruesdelined ‘Sellshrough video on phy ‘media fel 0 £940 milion, ‘counted for 23% of the ‘ideo on Demand increase £325 lion, accounting fe ofthe marke. (Grose revenues for UK film fan estimated £900 millon ‘down from £1 billion in 201 ‘The Ui had the tied large: cntertainment market in later the USA and Japan‘The theatrical marketplace is dominated by a few very large companies. In 2023, the top 10 distributors generated £1.14 billion in theatrical revenues, while the remainder ‘made less than £42 million. FACTS IN FOCUS: ‘The top 10 distributors had a 96% ‘share ofthe market in 2013, slightly higher than in 2012. ‘The marketshare for distributors ‘outside the top 10, a 4%, was the Towest since 2005 ‘Weekdays (Monday to Thursday) accounted for $1% of the box office {in 2013, slightly less than in 2012. ‘Opening weekends represented 28% fof the total box office ‘The estimated total amount spent by distributors on advertising films released theatrically was just over £189 milion, ‘The average advertising spend for studio-backed UK films was £14 million, compared with €1.7 milion in 2012, FACTS IN FOCUS: Just under half (48%) of independent domestic UK films with production ‘budgets of £500,000 or more shot between 2003 and 2011 were released within two years of principal photography. ‘The percentage of independent domestic UK films achieving a theatrical release increased with the level of budget. For independent domestic UK films wih budgets fess han £5 milion, t office oe Eas be Or ea meee Ireland, but for flms with budgets of & million or more less than quarter came from the UK and Republic of Ireland. Of the films which donot achieve a theatrical release, 67% get shown via another medium or become available on other platforms, with screenings at film festivals and releases on physical video being the ‘most common, Despite faling revenues, particularly inthe rental market, Physical video remains a crucial element ofthe flm value chain.n 2013, featur film video sales and rentals in the UK generated just cover £1.1 billion. FACTS IN FOCUS: “The combined sales and rental ‘market forall catgories of video on physical median 2013 was more than EL bilion (over £14 billion in sales and £197 milion from rentals) feature film on vdeo accounted fr just over £1. lion ‘There were 119 milion sles of feature film on physical video (227 milion in 2012) and 53 milion rentals off on video (78 milion in2019, Film accounted for 73% of the volume ofthe vdeo sales market ‘and.65% ofthe value, UE films ‘Sccounted fr around 24% of all ‘lms sold on video. ‘The most popular purchase on both DVD and Blu-ray dsein 2013 was Shyfal. ‘line video rental with postal elivery accounted for 65% of all feature film vdeo rental transactions in 2083,TEST Who are Filma? (Ideology, patterns of production, audience relationship) ‘Who are Working Title? (Ideology, patterns of production, audience relationship) ‘Why do both of these institutions co-produce many of their projects? ‘Why would Working Title focus more on a ‘celebrity’ cast? ‘What is the difference between production, distribution, and exhibition? In your opinion, how would the marketing of About Time (Working Title) differ to that of The Selfish Giant (Film4/BF1)? Think of the budgets of both films, as well other things:- (Target Audience, celebrities, advertising, exhibition, magazines, TV, Radio etc)e.g: iPhone is an example of technological convergance. Different platforms of media technology (phone, camera, intermet etc) coming together in one single deviceBEAN Synergy - Different institutions working together (and making the most of each others consumer audience) for the same outcome. For example: Universal and Spotify Cross-media convergence - The way in which institutions produce and distribute films through different media outlets. For example WTF made the most of its parent company Universal in order to distribute TBTR to a wider audience (via cinema, ty, radio, soundtrack etc) Film4 makes use of Channel 4 to screen many of their productions and TV spots (TV/Film)