Film Studies: Audiences and Producers

Showing posts with label Audiences and Producers. Show all posts

Friday, 13 March 2015

Preparation for the FM2 exam - some blogs and sites to follow

Charles Gant (UK box-office trends)
http://www.theguardian.com/film/series/at-the-british-box-office

Mark Kermode (general film blog)
http://www.bbc.co.uk/blogs/markkermode

Stephen Follows (analysis of film issues)
http://stephenfollows.com/

David Bordwell (film analyst)
http://www.davidbordwell.net/blog/

The Guardian film blog
http://www.theguardian.com/film/filmblog

BBC Film
http://www.bbc.co.uk/film/

The Guardian Film
http://www.theguardian.com/film

Industry news
http://www.screendaily.com/

Also some good information about the UK film industry is on the Media blog here:
http://howardschoolmedia.blogspot.co.uk/2012/05/institutions-and-audiences-some-useful.html

Wednesday, 17 December 2014

Christmas reading - preparation for the mock exam!

Social media:
http://mashable.com/2010/11/29/social-media-movie-marketing/
http://socialfresh.com/how-social-media-is-changing-the-business-of-blockbuster-movies-infographic/
http://www.huffingtonpost.com/britt-michaelian/social-media-is-a-major-g_b_4284162.html
http://www.huffingtonpost.co.uk/preetam-kaushik/the-changing-roles-of-film-producers_b_2483863.html
http://www.adweek.com/news/advertising-branding/will-ferrell-s-anchorman-2-changing-way-movies-are-marketed-154076
http://www.theguardian.com/film/filmblog/2014/jun/16/twitter-movie-website-hashtag-film-social-media
http://www.portent.com/blog/social-media/hunger-games-social-media-campaign.htm
http://www.independent.co.uk/arts-entertainment/films/features/online-movie-campaigns-time-to-see-the-bigger-picture-2042357.html

Effects:
http://io9.com/5411842/does-cgi-ruin-movies
http://www.chicagoreader.com/Bleader/archives/2014/08/20/an-interview-with-veteran-special-effects-supervisor-scott-squires-part-two
http://blogs.discovermagazine.com/crux/2013/03/15/why-less-is-more-when-it-comes-to-movie-special-effects/#.VImJ4tKsUuc
http://www.radiotimes.com/news/2013-10-10/barry-norman-modern-films-rely-too-much-on-special-effects-sequels-and-remakes
http://www.dukechronicle.com/articles/1997/09/10/hollywood-relies-too-heavily-special-effects-and-gimmicks#.VImIMNKsUuc
http://whatculture.com/film/the-importance-of-visual-effects.php
http://vfxg.org/profiles/blogs/are-visual-effects-more-important-than-story

Wednesday, 7 May 2014

Film Studies FM2 - How to revise...

General information about the UK film industry

For a great overview of the UK film industry, read the BFI statistical review: http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-statistical-yearbook-2014.pdf
Another great source is the 2012 Government review of the film industry: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/78460/DCMS_film_policy_review_report-2012_update.pdf
UK Box-Office 2012 information http://www.bfi.org.uk/news-opinion/bfi-news/british-films-lead-uk-box-office-2012
The U.S. majors (from Wikipedia):

A major film studio is a production and distribution company that releases a substantial number of films annually and consistently commands a significant share of box office revenue in a given market. In the North American, Western, and global markets, the major film studios, often simply known as the majors (Warner Brothers Pictures, Walt Disney Pictures, Universal Pictures, Columbia Pictures, 20th Century Fox, Paramount Pictures) are commonly regarded as the six diversified media conglomerates whose various film production and distribution subsidiaries command approximately 90 percent of U.S. and Canadian box office revenue. The term may also be applied more specifically to the primary motion picture business subsidiary of each respective conglomerate.

Today, Disney is the only member of the Big Six whose parent entity is still located near Los Angeles (actually, on Disney's studio lot). The five others report to conglomerates headquartered in New York City, Philadelphia, and Tokyo. Of the Big Six, Paramount is the only one still based in Hollywood, and Paramount and Fox are the only ones still located within the Los Angeles city limits.

Most of today's Big Six control subsidiaries with their own distribution networks that concentrate on arthouse pictures (e.g. Fox Searchlight) or genre films (e.g. Sony's Screen Gems); several of these specialty units were shut down or sold off between 2008 and 2010. The six major studios are contrasted with smaller production and/or distribution companies, which are known as independents or "indies". The leading independent producer/distributors—Lionsgate Films, The Weinstein Company, and former major studio MGM—are sometimes referred to as "mini-majors". From 1998 through 2005, DreamWorks SKG commanded a large enough market share to arguably qualify it as a seventh major, despite its relatively small output. In 2006, DreamWorks was acquired by Viacom, Paramount's corporate parent. In late 2008, DreamWorks once again became an independent production company; its films are distributed by Disney's Touchstone Pictures.

The Big Six major studios are today primarily backers and distributors of films whose actual production is largely handled by independent companies—either long-running entities or ones created for and dedicated to the making of a specific film. The specialty divisions often simply acquire distribution rights to pictures in which the studio has had no prior involvement. While the majors still do a modicum of true production, their activities are focused more in the areas of development, financing, marketing, and merchandising. Those business functions are still usually performed in or near Los Angeles, even though the runaway production phenomenon means that most films are now mostly or completely shot on location at places outside Los Angeles.

How do I time myself in the exam and which questions do I answer?
Read this http://howardschoolfilm.blogspot.co.uk/2012/05/some-points-for-exam.html

What typical question areas are covered by the sources in Section A?

Genre - use your class notes for this and here is a good overview of current UK trends in genre http://stephenfollows.com/genre-statistics-in-the-uk-film-industry/
Stars/ talent - use your hand-outs and this post http://howardschoolfilm.blogspot.co.uk/2013/02/fm2-stars.html
The cinema experience - use your class notes.
Audience - use your class notes and Chapter 15 of the Statistical Yearbook http://www.bfi.org.uk/statisticalyearbook2013/
Technology (including exhibition) - see the Statistical Yearbook and here http://howardschoolfilm.blogspot.co.uk/2013/05/fm2-technology-distribution-and.html and the technology section in this post which has some extra ones http://howardschoolmedia.blogspot.co.uk/2012/05/institutions-and-audiences-some-useful.html
Distribution and marketing -see here http://howardschoolfilm.blogspot.co.uk/2013/02/fm2-film-marketing.html http://www.screenonline.org.uk/film/distribution/distribution7.html http://howardschoolfilm.blogspot.co.uk/2013/02/what-is-film-distibutor-fm2.html
How does the UK film industry become more successful - http://howardschoolfilm.blogspot.co.uk/2013/02/fm2-uk-film-policy-review-2011.html
U.S. dominance of the film industry -

On Hollywood's dominance over the world's cinemas

There's no question that Hollywood is the top player in the global arena of film industries, and sales confirm it. While only topped by India's movie market (dubbed Bollywood) in sheer output and rivaled in worldwide popularity, America's blockbusters remain a preferred cinema experience for most of the world. What makes Hollywood so compelling as to be dominant over any single other foreign film market?

Part of it is the long-running history and 'legacy' of America's film production and studio system. While film was created by the Lumiere brothers in France, it was directors and editors like Edwin Porter and D.W. Griffith who created sensational stories and stylistic techniques that elevated the medium to an art. Griffith went on to form the studio United Artists, one among many studios that became dynastic in their funding of increasingly ambitious, epic, glamorous movies. Many other countries in the early part of the twentieth century had little interest or desire in movies, perhaps because there was little money to be put towards films' production or exhibition when many countries were more concerned with the effects of two wars. Perhaps because the fight never hit home on U.S. soil, America's early experimentation in the first half of the century cemented their place among the the world cinemas. The sense of legacy, of Hollywood's golden age of prestigious studios, and star actors and actresses, is still perpetuated through the annual award shows and a lucrative celebrity paparazzi industry all its own.

Another factor is how much Hollywood is willing to gamble on a single, huge blockbuster. Movies are an expensive endeavor, and America has long been one of the wealthiest countries in the world. The tradition of going to the movies, started as a cheap, escapist group activity, long established a national past-time for Americans. Hollywood has long had to come up with ways to keep people coming back, though, to create spectacles and increasingly bigger more exciting experiences. The big studios have only gotten bigger, and with conglomeration, have even less rivalry from independent sources, and can provide so much funding that the only limit to a Hollywood movie is the limit of the imagination. There's so much spent that film-fans can see new product out of Hollywood every single week.

The spectacle of big action movies isn't possible in many country's markets, certainly they can't be funded as often, but is still highly desired by people the world over. As the Daya Thussu reading showed, before, a third of a Hollywood film's earnings would be made from foreign markets, and now it's closer to half; this is why many blockbusters, summer movies, and comic book movies are made with these markets in mind. The plots are kept accessible to various cultures, relatable to common shared emotions, and mostly inoffensive. As if a long-standing franchise like Lord of the Rings, X-Men, or Transformers isn't enticing enough to sell a movie, the promise of original 'experiences' like Avatar is something that excites people the world over, that people want to flock to as a shared event.

And furthermore, part of the reason Hollywood dominates in distribution the world over is the very Hollywood-ness of it. While often predictable, unrealistic, and artificial, there's clearly something almost intoxicating about the highly-polished, glamorous, bright and loud flash of Hollywood that other cultures want to share in. Movies are almost always cited as a major influencer in the globalized western culture, the spread of so-called Americanization. While it's vital for a country to maintain it's national identity, in this case namely through the medium of cinema, global audiences evidently find it desirable to partake in the unique American experience portrayed in movies like Iron Man and Indiana Jones. Like it or not, Hollywood movies often sell American values, sometimes even American products.

There are other factors like the interest in the free-trade of film products, that some Hollywood studios may almost force certain movies into a foreign market. Many blockbusters today are so expensive there's no way they could recoop and make a profit domestically, and they're made fully with the expectation the global market will put it over the top. Like those countries that didn't get an early start of their own national film industry, many still don't have a production system 'up-to-par' to meet the people's entertainment demands, and Hollywood exports fill that gap. Whatever the reason, it has further since cemented Hollywood's dominance as the world's foremost film industry. Stephen Ferrell

Franchises - See Tom Hanks article.
Piracy - http://howardschoolfilm.blogspot.co.uk/2013/02/fm2-film-piracy-useful-sites.html http://www.theguardian.com/technology/2014/may/06/piracy-film-music-study-pay-illegal-download-damage http://www.wired.com/2014/01/most-pirated-films-2013/
Independent film - See Wikipedia for a definition http://en.wikipedia.org/wiki/Independent_film but here is a good discussion of the topic by Tambay Obenson called "How Do You Define Independent Film?: It happens just about every year - a film that many don't consider an independent film wins an independent film award or two; while a film that many consider quintessentially indie, is seemingly looked over.

It happened last 2 nights ago, at the Indie Spirit Awards ceremony, which saw Silver Linings Playbook dominate, while Beasts Of The Southern Wild was left wanting. I'm sure you can figure out which of the 2 films most consider the true "indie" film.

And it didn't take very long after the Indie Spirit Awards ended for discussion on what exactly being an indie film means, to trend on social networks. But this is a conversation that the film community has been having for years now, with still no real consensus on the matter, and I don't think there ever will be one - which means, next year, expect more of the same kind conversation.

I just don't believe the answer to that question is a simple one. The lines between what we traditionally referer to as Hollywood studio cinema, and indie cinema, are so blurred today, that the term doesn't seem to really have much significance anymore, and maybe a brand new term is needed to replace it.

If you asked any group of people to define independent film, many would probably say something like, "any film made outside the Hollywood studio system," with considerations made for budget, source of funds, cast, story, distribution, and more. But you could find any number of films that move fluidly between "studio" and "indie" when it comes to 1 or more of those production/distribution aspects.

An example that I think most of you should know - George Lucas financed Red Tails with his own money - a huge investment; but, as we all recall, he said that no Hollywood studio would touch it; therefore, he had to reach into his own bank account to finance the film, at a cost of $58 million!

So is Red Tails an indie film? And if it is, would it have been nominated for an Indie Spirit Award if it were a stronger, critically-lauded film?

And if not, the question is, why not?

Given the ongoing conversation, especially after Saturday night's Indie Spirit Awards ceremony, I thought I'd pose the question of what indie cinema is to you folks, because I really don't have a simple answer myself, and I'd like to read your thoughts.

But first, I searched the web for answers to that question, and found several given by artists who work in the film industry, and whose names you'll recognize, and I thought I'd share their responses here as well.

So take a look at what they had to say on the matter, and tell us how YOU definie indie cinema.

Screenwriter/director John August:

Classically, an independent film was one that was made outside of the conventional studio system, be that Hollywood, Bollywood or Pinewood. But with the rise of the “independent” labels of the major studios, such as Fox Searchlight and Paramount Vantage, that distinction is pretty much moot. Also, consider that the last three Star Wars epics were made independently (by Mr. George Lucas). Any movie with fast-food tie-ins really shouldn’t qualify, in my opinion. I’d argue that the term “independent film” should be reserved for talking about the movie itself, rather than how it was financed. There’s a reason the word “independence” so often shows up in proximity to “revolution” — a shared spirit of frustration, anarchy and apple-cart-upsetting. From their conception, independent films aren’t just made outside of the studio system. They are made in opposition to the studio system, with its relentless need to round off the corners and soften the blows. And in standing against the status quo, independent films help to change it. Of course, my proposed redefinition of independent film can’t accommodate many of today’s darling indies, which mollycoddle their audiences with a careful recipe of quirk, warmth and family dysfunction. Just the very term “indie” seems to embody that spirit of fuzzy cuteness. I would call on filmmakers to start feeding their movies after midnight, and let their vicious little monsters roar.

Director/producer Ted Demme:

If it’s personal to a director, then it’s an independent.

Screenwriter/director Alan Rudolph:

Independent is a misnomer. By definition, it’s an oxymoron. If you’retruly independent, then no one can really categorize you and yourfilm can’t be pigeonholed. If you’re against the system, you’re partof the system by definition. I don’t think independent means againstthe system, but you’re always dependent on the money.

Actress Tilda Swinton:

Independent in my mind means free. Independent films have changed so much over the past years. For example, when I started making films with Derek Jarman in the 1980s, that was really independent film-making, going around with a Super 8 camera to make The Last of England. That was before the studios started making what I would describe co-dependent films, films that were on a leash but given the impression that they were studio-light."Independent means you are free to say what you want. It does not necessarily say you will be able to do it very easily and anyone is going to give you any money to do it. It might mean it is very uncomfortable, it might mean you work with chaos on a daily basis, though it does mean that you don't have someone breathing down your neck ... So that is what indie means to me.

Writer/director Michael Winterbottom:

I think from the point of view of making films, I just want to make the films I want to make. In a sense that is the best definition of independent, people making the films they want to make rather than working within the studio system and making a film for the studio.

And now over to you... how do you define independent film?
Reviews - Online film reviews are discussed here http://en.wikipedia.org/wiki/Film_criticism#Online_film_reviews
Box-office success - http://www.screendaily.com/news/uk-ireland/camerons-comments-draw-dismay-ahead-of-film-policy-review-mike-leigh-has-no-comment/5036369.article
Blockbusters/ high concept films -

The ‘high concept’ film is a response to some of the difficulties in knowing your audience. Some of its features are:
• a straightforward, easily pitched and easily comprehended story
• character and narrative are reduced and simplified
• there is a very strong match between image and music
• parts of the film can be easily transferred into other merchandising opportunities
• film is sold on ‘look’ - spectacular special effects, high production values
• the audience is to be caught up in the ‘surface’ of the film.

How do I answer the questions on the focus films? (British Horror and U.S. Comparison)
Read this http://howardschoolfilm.blogspot.co.uk/2013/01/fm2-exam-questions-common-question.html

Don't forget to use the digital files I've given you for the horror films plus the hand-outs and your class notes. Also look under the 'Horror Genre' tab on the blog. For the U.S. Comparison use the typed notes I gave you, your class notes and the 'U.S. Comparison' tab on the blog.

Friday, 3 May 2013

FM2 - Technology, distribution and exhibition

http://web.mit.edu/cms/People/henry3/converge.pdf

What is convergence?

What is synergy?

Synergy means 'working together' and occurs when two or more things work together to produce a result that would not be possible if they were working independently of one another.

In the film industry, the marketing people aim to create synergy by creating a trailer that works with the poster that works with the website that works with the radio advertisement that works with the TV spot that works with the magazine article that works with the merchandise...and so on.

Synergy helps to establish a brand identity that you, the consumer, immediately recognise. All of these synergistic elements help to raise your awareness of the film and increase the likelihood of you going to see it.

The Cloverfield campaign (see handout) is a good example of synergy.

http://www.filmeducation.org/madeindagenham/deborah_sheppard.html

http://en.wikipedia.org/wiki/Film_distribution

Film distribution

http://www.filmreference.com/encyclopedia/Criticism-Ideology/Exhibition.html

Film exhibition

http://en.wikipedia.org/wiki/Digital_cinema

Digital cinema

http://www.filmeducation.org/resources/secondary/topics/focus_on/film_industry.php

http://www.screenonline.org.uk/film/distribution/distribution7.html

http://www.iofilm.co.uk/io/mit/001/film_distribution_20051115.php

Digital film distribution

http://en.wikipedia.org/wiki/Imax

IMAX

http://www.ukfilmcouncil.org.uk/dsn

Digital screen network

http://en.wikipedia.org/wiki/Digital_cinematography
Digital cinematography

http://www.reald.com/

http://en.wikipedia.org/wiki/Real_D_Cinema

RealD 3D cinema

http://film315s.com/epic-winning-how-viral-marketing-is-pwning-the-movie-industry/

http://www.guardian.co.uk/film/2009/nov/14/2012-roland-emmerich-viral-marketing

http://www.totalfilm.com/features/the-best-and-worst-movie-viral-campaigns

http://www.filmschoolrejects.com/news/marketing-the-dark-knight-a-viral-revolution.php

Viral marketing

http://en.wikipedia.org/wiki/Home_cinema

Home cinema (also think about Blu-ray and domestic 3D TVs)

Monday, 4 March 2013

FM2 - Qualifying as a 'British' film

A 'British' film will be eligible for UK film tax relief and possibly lottery funding too.

To qualify as 'British', a film has to pass a Cultural Test. This involves satisfying a number of criteria, such as:

Does the story contain UK elements?
Are UK locations used?
Has the film been made with a UK audience in mind?
Were UK companies and citizens involved in making the film? (e.g. institutions, director, cast, crew etc.)

The Harry Potter films are financed by Warner Bros but satisfy the Cultural Test because the books were written by a British woman; are about British characters; are set in the UK; are popular with UK audiences; have a UK production company (Heyday Films); (usually) have British directors; have mainly British casts; and British crew.

The number of films satisfying the Cultural Test has risen steadily since 2009.

International co-production agreements also exist with countries such as Australia, Canada, France, India, New Zealand and South Africa (but not the US). These co-productions do not need to satisfy the cultural test to receive tax relief and/or funding. These co-productions may qualify for public funding from each country that is contributing to making the film. An example of such a film is Africa United (2010) which was a co-production between Pathe Productions (France), Footprint Films (UK), Link Media Productions (Rwanda), Out of Africa Entertainment (South Africa) and BBC Films (UK). Co-productions made up 15% of the feature films made wholly or partly in the UK during 2011. However, co-productions have declined since 2007 when tax 'breaks' were reduced.

Wednesday, 13 February 2013

FM2 - UK box-office chart for 2012

http://www.bfi.org.uk/news-opinion/bfi-news/british-films-lead-uk-box-office-2012

Monday, 11 February 2013

FM2 - UK Film Policy Review 2011

Independent report update

The final report to Government by the independent Film Policy Review Panel and Summary report of responses to the Film Policy Review online consultation survey were published on 16 January 2012.

The eight strong panel, chaired by Lord Chris Smith, have set four principal objectives for the Review to address:

Identify obstacles preventing the British film industry being more successful
Determine how best to set policy directions for the increased Lottery funding
Identify ways to develop and retain UK talent
Increasing audience demand for film, including independent British film

Lord Smith and the panel welcome views from everyone involved in the business of getting British films made, sold and seen.

http://www.culture.gov.uk/images/publications/DCMS_film_policy_review_report-2012_update.pdf
http://www.guardian.co.uk/film/2012/jan/16/film-policy-review-uk
http://www.guardian.co.uk/film/filmblog/2012/jan/17/british-film-industry-report-accent-youth
http://www.screendaily.com/news/uk-ireland/uk-industry-welcomes-film-policy-review-but-cautions-that-words-must-be-followed-by-action/5036542.article
http://www.screendaily.com/news/uk-ireland/uk-film-policy-review-encourages-joint-ventures-calls-for-more-lucrative-producer-recoupment-suggests-potential-sky-investment-legislation/5036530.article

FM2 Stars

http://www.forbes.com/celebrities/#p_1_s_a0_Actors_
http://www.forbes.com/celebrities/#p_1_s_a0_Actresses_
US star charts

http://www.bfi.org.uk/statisticalyearbook2013/
See page 77.

FM2 DVD - Trends relating to DVD and useful sites

Is DVD dying out? http://www.dailymail.co.uk/sciencetech/article-1270704/DVD-sales-decline-likely-die-internet-Digiboxes-over.html#axzz2Klu1wC00
http://www.guardian.co.uk/business/2011/may/03/film-industry-turmoil-as-dvd-sales-drop
http://www.thisismoney.co.uk/money/news/article-2013419/Blow-Hollywood-DVD-sales-fall-25-years-digital-download-growth-slows-cinema-goers-3D-movie-dwindles.html#axzz2Klunj9E7
http://www.bbc.co.uk/news/entertainment-arts-16416042

http://www.officialcharts.com/
Formerly Chart Information Network (CIN), was formed in 1998 and is a joint venture between BPI (British Phonographic Industry) and ERA (Entertainment Retailers Association, formerly known as BARD). The Official Charts Company is responsible for the commissioning, marketing, distribution and management of the UK's official music and video charts.

http://www.videostandards.org.uk/VSC/
Set up in 1989 as a non-profit-making body, to develop and oversee a code of practice and rules to promote high standards within the video industry. It now also embraces computer and video games. VSC has a complaints board and investigates alleged breaches of the rules.

http://www.ivf-video.org/index.php?category/Home
The IVF provides international representation for 14 national video associations and their members, publishers and distributors of pre-recorded video works. In cooperation with its member associations, the IVF lobbies international, EU and national legislative authorities.

FM2 Film Piracy - useful sites

http://www.allianceforip.co.uk/
Alliance for Intellectual Property
A group of concerned industries joined forces under the Alliance in 1999 to provide a single voice in the battle to combat counterfeiting and piracy. The members include the Anti-Counterfeiting Group, British Brands Group, Business Software Alliance, Anti Copying in Design, BARD, British Phonographic Industry, BVA, Copyright Licencing Agency, European Leisure Software Publishers Association, FACT, FAST (The Federation Against Software Theft) and Newspaper Licensing Agency.

http://www.fact-uk.org.u/k
The Federation Against Copyright Theft
FACT is the trade body committed to protecting the interests of the audio-visual industry in the fight against piracy and the increasing threat from online copyright theft. FACT works closely with Police services, Trading Standards, HM Revenue & Customs and most recently with the Department for Work and Pensions. FACT has a close association with other enforcement bodies such as the British Phonographic Industry (BPI) and the Entertainment and Leisure Software Publishers Association (ELSPA). FACT also has an important role in ensuring that the government and public understand the threat to the UK’s film, video and television industry and to the community at large from the growing threat of DVD and online piracy.

http://www.copyrightaware.co.uk/
The Industry Trust
The Industry Trust for Intellectual Property Awareness was established in 2004 to tackle the growing issue of film and TV copyright theft in the UK. Today it represents a wide range of companies from the British film and TV industry, including home entertainment, theatrical film distributors, DVD retail and rental companies and a variety of industry bodies and associated companies active in the sector.

FM2 - UK Film Distributors' Association

http://www.launchingfilms.com/
Film Distributors' Association
Film Distributors' Association Ltd. (FDA) is the trade body for theatrical film distributors in the UK – the companies that release films for UK cinema audiences. Originally established in London in 1915, FDA liaises and works with many individuals, companies and organisations. FDA's Council, or board, comprising a senior representative of each member company, normally meets six times a year and considers only matters of generic interest to film distributors.

http://www.culture.gov.uk/images/consultation_responses/FPR_FDA.pdf

FM2 Film Exhibition -The Cinema Exhibitors' Association

http://www.cinemauk.org.uk/

Cinema Exhibitors' Association Ltd
The CEA represents the interests of well over 90 per cent of UK cinema operators by number and market share. The CEA membership includes single screen/owner managed sites as well as the largest circuit and multiplex operators. The CEA advocates on behalf of the UK cinema sector at international, national, regional and local level. This includes lobbying and working with Government at all levels, with other sectors of the film industry, particularly distribution, as well as working with others to promote the value of cinema to the wider public. In addition we provide advice and support to individual members on interpreting and adhering to legislation and regulation, and in dealing with day to day operational issues as appropriate.

Friday, 7 December 2012

Charles Gant

The host of the Film Futures day was film journalist, Charles Gant. You can read some of his recent articles for The Guardian here: http://www.guardian.co.uk/profile/charles-gant

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