Monday 26 March 2012
BFI site for film statistics
This is one of the most up to date resources for cinema viewing figures.
Click here
Click here
This year marks the 65th anniversary of the peak
of British cinema-going, when an astonishing
1.6 billion tickets were sold – the equivalent of approximately 36 cinema visits per person per year. Of course, back in 1946 the cinema was the only place in which the British public could watch feature films. Television was still in its infancy
(the limited London service was re-introduced that year following its wartime hiatus) and the first trials of videotape recording at the BBC was another six years away. Both television and the VCR had a huge impact on cinema-going in the years that followed, and yet, as this Yearbook shows, our appetite for film has not diminished – in fact, it has increased
1.6 billion tickets were sold – the equivalent of approximately 36 cinema visits per person per year. Of course, back in 1946 the cinema was the only place in which the British public could watch feature films. Television was still in its infancy
(the limited London service was re-introduced that year following its wartime hiatus) and the first trials of videotape recording at the BBC was another six years away. Both television and the VCR had a huge impact on cinema-going in the years that followed, and yet, as this Yearbook shows, our appetite for film has not diminished – in fact, it has increased
In 2010, we watched feature films on 4.6 billion
occasions, that’s around 81 films per person. We
now inhabit a far more complex multi-platform
world of digital film consumption and we can
experience film through DVD, Blu-ray, on free-to-air
and pay television, online, on mobile devices and
of course at the cinema, which remains the crucial
first step in the lifecycle of a film. Wednesday 21 March 2012
The future of the UK Film Industry-tongue in cheek article by the very funny Charlie Brooker
A reflection on the recent report into the future of the UK film industry
Here is the report that was released in February 2012
'A Future For British Film: It begins with the audience' : Report on the Film Policy Review Survey
There are 56 recommendations on how the British Film Industry can move forward, most of these for the BFI to implement and encourage!
Tuesday 20 March 2012
Thursday 15 March 2012
Digital distribution marketing campaign case studies
From 2010 but revealing case studies that demonstrate the range and time scale of marketing campaigns in the UK
Advantages of digital distribution (adapted from an American article)
Technology is helping tomorrow’s cinemas overcome some of the challenges that are squeezing the profitably from cinema exhibition today. Some of those challenges include:
The Challenge
High Distribution Costs – The cost of sending films out to theaters across the country and around the world is fixed today based on the cost of the film prints themselves, anywhere from £1200-2000 per cinema.
No Security – Distributors have little control over a film once it leaves their facilities. They have to hope that it’s delivered safely to the appropriate theaters and doesn’t fall into the wrong hands or is damaged along the way.
Degradation Issues – As a movie is screened it becomes progressively more scratched and dirty, eventually demanding a replacement print.
Limited Programming Flexibility – Currently cinema owners are only set up to receive 35 mm films. Since the cost of film production is so high there’s little content beyond major independent and studio movies that can afford to take advantage of a theatre screening.
Inflexible Advertising – Advertisers love advertising in theaters because they have a captive audience. But today’s theater advertising is limited to slide shows and rarely a filmed ad. But again, given the costs of film distribution not many advertisers can afford to send a 35 mm reel to each theater and even if many advertisers did so, the theater owners aren’t equipped to switch from one ad reel to the next.
The Solution
Digital distribution and exhibition of content in tomorrow’s theaters will overcome many of these limitations.
Streamlined Distribution – The distribution process will no longer involve bulky expensive film reels. Films can be sent digitally over the IP network to targeted theaters without ever having to duplicate a 35 mm reel. This streamlined distribution will pave the way for new programming options including concerts, sporting events, distance learning and more. Theater owners can program content quickly and easily, moving content from one auditorium to many, meeting market demand in a way they are currently unable to.
Integrated Digital Rights Management – Digital theater content will be secured before it ever leaves the content owners facility. DRM will enable tracking and license serving so theaters and content owners know exactly when and where the content is accessed.
Digital Preservation – The one thousandth time a digital movie is screened provides the same quality as the first time. There is no breakdown in the digital file as there is with film.
Demographically targeted advertising – Digital ads can be served from one location and targeted to specific theaters based on content being shown in that theater to a particular demographic.
The benefits of moving to digital distribution to theaters are clear. The costs for theater owners have been historically very to purchase the digital projectors and other equipment but some smaller theaters are finding that they can begin to achieve some of the benefits of digital cinema with off the shelf hardware and software.
Conclusions
Technology is changing the rules of the film industry just as it did for the music industry. With the growing interest from consumers to get movies and video content in different ways with different options, filmmakers and distributors are turning to technology to meet their demands. New technology like Windows Media 9 Series strives to achieve higher quality, greater efficiency, and greater audience reach all while driving down costs. All of these benefits open up new distribution opportunities to the film industry.
The Challenge
High Distribution Costs – The cost of sending films out to theaters across the country and around the world is fixed today based on the cost of the film prints themselves, anywhere from £1200-2000 per cinema.
No Security – Distributors have little control over a film once it leaves their facilities. They have to hope that it’s delivered safely to the appropriate theaters and doesn’t fall into the wrong hands or is damaged along the way.
Degradation Issues – As a movie is screened it becomes progressively more scratched and dirty, eventually demanding a replacement print.
Limited Programming Flexibility – Currently cinema owners are only set up to receive 35 mm films. Since the cost of film production is so high there’s little content beyond major independent and studio movies that can afford to take advantage of a theatre screening.
Inflexible Advertising – Advertisers love advertising in theaters because they have a captive audience. But today’s theater advertising is limited to slide shows and rarely a filmed ad. But again, given the costs of film distribution not many advertisers can afford to send a 35 mm reel to each theater and even if many advertisers did so, the theater owners aren’t equipped to switch from one ad reel to the next.
The Solution
Digital distribution and exhibition of content in tomorrow’s theaters will overcome many of these limitations.
Streamlined Distribution – The distribution process will no longer involve bulky expensive film reels. Films can be sent digitally over the IP network to targeted theaters without ever having to duplicate a 35 mm reel. This streamlined distribution will pave the way for new programming options including concerts, sporting events, distance learning and more. Theater owners can program content quickly and easily, moving content from one auditorium to many, meeting market demand in a way they are currently unable to.
Integrated Digital Rights Management – Digital theater content will be secured before it ever leaves the content owners facility. DRM will enable tracking and license serving so theaters and content owners know exactly when and where the content is accessed.
Digital Preservation – The one thousandth time a digital movie is screened provides the same quality as the first time. There is no breakdown in the digital file as there is with film.
Demographically targeted advertising – Digital ads can be served from one location and targeted to specific theaters based on content being shown in that theater to a particular demographic.
The benefits of moving to digital distribution to theaters are clear. The costs for theater owners have been historically very to purchase the digital projectors and other equipment but some smaller theaters are finding that they can begin to achieve some of the benefits of digital cinema with off the shelf hardware and software.
Conclusions
Technology is changing the rules of the film industry just as it did for the music industry. With the growing interest from consumers to get movies and video content in different ways with different options, filmmakers and distributors are turning to technology to meet their demands. New technology like Windows Media 9 Series strives to achieve higher quality, greater efficiency, and greater audience reach all while driving down costs. All of these benefits open up new distribution opportunities to the film industry.
Wednesday 14 March 2012
Mini Questions: These should be answered in half an hour and be about a side long:
1. What are the issues raised by media ownership in contemporary media practice? (film making).
2. What is the importance of cross media convergence and synergy in production, distribution, marketing in the production companies you have studied?
3. What technologies have been introduced in recent years at the levels of production, distribution, marketing and exchange?
4. What is the significance of proliferation in hardware and content for institutions and audiences?
5. How do your own experiences of media consumption illustrate wider patterns and trends of audience behaviour?
Now choose an essay question: Use your notes, the blog and the internet to plan your response. Then put all but your plan away and spend 45 minutes writing this in quiet, exam conditions.
1. How important is technological convergence for the film industry?
2. How does the film industry target audiences?
3. In the light of new technology what will the film industry have to do in the future to continue expanding?
4. How importants is technological convergence for institututions and audiences?
5. What are the issues raised in the targeting of national and local audiences(Britsh) by international or global institutions?
Key terms to use:
Viral marketing, blanket distribution, niche markets, audience targeting, brand marketing, knowing a market, proliferation of hardware, push-pull exchange, powerm Web 2.0, ‘We Media’
Synergy, Vertical integration, convergence, divergence,
Merchandising, tie in deals, spin offs, cross platform marketing, interactive
Downloading, congomerates, budget distribution, independent, art house, negative distribution, piracy, target audience, niche audiences, democratisation, exhibition/exchange, BFI, FACT, White Bus
1. What are the issues raised by media ownership in contemporary media practice? (film making).
2. What is the importance of cross media convergence and synergy in production, distribution, marketing in the production companies you have studied?
3. What technologies have been introduced in recent years at the levels of production, distribution, marketing and exchange?
4. What is the significance of proliferation in hardware and content for institutions and audiences?
5. How do your own experiences of media consumption illustrate wider patterns and trends of audience behaviour?
Now choose an essay question: Use your notes, the blog and the internet to plan your response. Then put all but your plan away and spend 45 minutes writing this in quiet, exam conditions.
1. How important is technological convergence for the film industry?
2. How does the film industry target audiences?
3. In the light of new technology what will the film industry have to do in the future to continue expanding?
4. How importants is technological convergence for institututions and audiences?
5. What are the issues raised in the targeting of national and local audiences(Britsh) by international or global institutions?
Key terms to use:
Viral marketing, blanket distribution, niche markets, audience targeting, brand marketing, knowing a market, proliferation of hardware, push-pull exchange, powerm Web 2.0, ‘We Media’
Synergy, Vertical integration, convergence, divergence,
Merchandising, tie in deals, spin offs, cross platform marketing, interactive
Downloading, congomerates, budget distribution, independent, art house, negative distribution, piracy, target audience, niche audiences, democratisation, exhibition/exchange, BFI, FACT, White Bus
Monday 12 March 2012
Feedback on essay: How has digital technology impacted on production, exhibition of UK film, with particular reference to your case study.
1. Begin by defining digital technology and that you are using the UK film industry as your case study (not every candidate is 'doing' this topic, so ensure the examiner knows your focus straight away.
2. Discuss in logical, chronological terms:
production
distribution
exhibition
3. When using abbreviations such as 'FACT', give the full name first and thereafter use the mnemonic.
Foundation for Art and Creative Technology (the art house cinema in Liverpool)
or
Federation Against Copyright Theft
both of these would be relevant for a response.
4. New topic =new paragraph.
5. Digital films are not necessarily cheaper to make but they are cheaper to distribute.
6. Be specific with your examples, this is why you have your case studies.
Up to date examples. of your own. This shows the examiners that you are independent learners with a keen interest in the media, and specifically the topic of the UK film industry.
7. Use £ statistics, not $
8. If you don't fully understand a word then don't use it. e.g.
'digital technology, and in particular convergence, has led to a proliferation of devices from which to access film'.
9. Dont forget theory,
David Gauntlett, 'Making is connecting', Web 2.0,
Naughton- new ecosystem, audiences no longer passive, have gone from push to pull.
The Digital Screen Network, a £12 million investment to equip 240 screens in 210 cinemas across the UK with digital projection technology to give UK audiences much greater choice.
Up to date examples. of your own. This shows the examiners that you are independent learners with a keen interest in the media, and specifically the topic of the UK film industry.
7. Use £ statistics, not $
8. If you don't fully understand a word then don't use it. e.g.
'digital technology, and in particular convergence, has led to a proliferation of devices from which to access film'.
9. Dont forget theory,
David Gauntlett, 'Making is connecting', Web 2.0,
Naughton- new ecosystem, audiences no longer passive, have gone from push to pull.
The Digital Screen Network, a £12 million investment to equip 240 screens in 210 cinemas across the UK with digital projection technology to give UK audiences much greater choice.
More info here
Melvyn Bragg on Class and Culture
information has been democratised'
'never has it been easier to share culture' (due to digital technology).
In this three-part series, Melvyn Bragg explores the relationship, from 1911 to 2011, between class and culture - the two great forces which define and shape us as individuals and as a society.
Melvyn looks at the last 30 years of culture in the UK, and examines whether class is still relevant to what culture we create and consume. The 80s brought the all-embracing force of Thatcherism - from the new, aspirational house buyers, to the disenfranchised industrial working class and the cataclysmic miners' strike. Melvyn Bragg talks to the cultural voices of this radical decade - dramatist Alan Bleasdale; Billy Elliot writer Lee Hall ('...art was for posh people...'); writer Sue Townsend; genre-breaking band The Specials; and Chris Donald, the creator of Viz magazine ('...a comic created by a lower middle class Geordie became an organ of the metropolitan middle class...'). These people broke through to become key voices not simply of their class but of the whole, changing, cultural landscape.
Melvyn travels to Leith, where he meets Irvine Welsh, a brilliant and mischievous literary voice of both the 90s rave generation and Scotland's disenfranchised working class. In the 90s, our leaders claimed we were all middle class, and culturally there has been a reaching out to the nation with free museums and galleries, fuelled by the National Lottery. But is this open, accessible culture simply masking newer divisions - a super-rich class of bankers and celebrities at one end and a poor underclass at the other, demonized by 'chav' culture? We may be more culturally democratic and varied than ever, but is wealth
Has digital technology democratised the class system?
Punk empowered working class people Pauline Black (The Selector). Has digital technology perpetuated this?
Giving access to everything to everyone?
Is this a way of defining 'We Media'?
Music as an agent of social change?
Cultural tribe becomes more important than social class? New romantics in 80s transcended class.
Amorphous middle class. Brookside (soap opera set in Liverpool in 80s)became a cultural landmark.
Russell Kane 'comedy is the most democratic form of art'.
but who is shown on TV is dominated by institutions.
Are we all middle class now?
Viz comic, how would that work now online? Only available in indie shops until they struck a publishing deal.
The Underclass, a swelling class left behind on crumbling estates. Amoral addiction & drug use, mass unemployment.
Do we all have access to cultural tools now due to 'We Media', as Irvine Welsh discussed?
Film & TV has always been more democratic, is literature the last undemocratic bastion of art and culture?
Now sees himself as one of the idle rich and upper class, rather than working class as he started of.
Chav, invidious class superiority. Bad side effect of expansion of middle class, those left behind.
Negative stereotypes & contempt and representation of W/C. Shameless. Where are the positive representations?
Media has created a new elite
A culture has created a celebrity superclass.
Where do we look now for new cultural charge?
Creativity of 'We Media'.
Pop music, Grime produced pop superstars from a new generation.
60% of government went to 7% of private schools.
Avalanche of access to new mass intelligentsia and culture.
Wednesday 7 March 2012
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