Revision a:s film industry

Revision
AS Media Studies
Section B: Institutions and Audiences
1 Exam Question – 45 minutes
The Film Industry

The basics…
Production: (Making Film) inception; optioning; writing
the script; pitching to a studio; setting a budget; crewing
up; casting; filming; editing.
Distribution: (The Middle Man) the studio buys the
rights; the studio makes a licensing agreement with a
distribution company; they decide how many copies of
the film are made; they negotiate deals to sell the lease
to buyers.
Exhibition: (The Screen) how the film reaches the public;
cinemas; DVDs; online; TV.

Production - Investors
 For a film to go into production it needs
investors to provide the necessary funding.
 However, Box office success is never certain
and so investors try to reduce the risk of losing
their money by becoming involved in
important decisions.

Production - Investors
 Key questions that investors will ask are:
 Is the film’s storyline similar to other films that
have made money recently?
 Does it offer easy selling points?
 Are there obvious marketing spin offs to give
added publicity?
 Is the star popular?
 Has the director had previous successes?

Production - Risks
 Key questions that they will ask are:
 Is the film’s storyline similar to other films that
have made money recently
If the answer to any of theses questions is no then
changes will be made to the “package” (the details of
the film) to make sure all the answers are yes!
Otherwise, the investors will take their money else
where.

Take into consideration…
 Director
 Writer
 Producer
 Cast
 Genre
 Sequel potential
 Location
 SFX
 Rating
 USP

Distribution
http://www.launchingfilms.tv/distribution.php
 Individual distributors may release any number of films,
sometimes just one or two, or as many as 25-30 a year.
 A typical week sees around ten new films opening in UK
cinemas. Inevitably, with more than 500 releases a year
all competing for screen time, media space and audience
interest, the market place is highly competitive, churning,
chopping and changing all too quickly.

Inception to Completion
Producer or studio acquires the rights to the film story or treatment
Screen play is developed
Production finance is agreed
Cast and crew confirmed
Shoot – location / studio
Post-production – editing, score etc.
Master print is delivered to a distributor
Distributor determines release date and strategy
Distributor presents films to exhibitor and negotiates bilateral agreements
Exhibition

Marketing
Why so serious?
http://www.youtube.com/watch?v=VpuC7HhCPWA
‘Arthur Christmas’ – Regents Street Lights

Cross Media
Cross Media: different medias (TV/ radio/ print/ film) or
different media institutions (studios/ newspapers/ TV
networks)
Convergence: the joining of two or more media
companies or technologies to form a new object /
promote a new product
In cross media convergence: more than one company
benefits from working in a partnership. Cross media
convergence ensures that the film reaches the widest
audience available. ‘The Dark Knight’ had one of the most
elaborate marketing strategies to date…

Distributing a Blockbuster
The Dark Knight – Case Study
 Produced by Legendary Pictures (with Warner
Bros)
 Distributed by Warner Bros
 Directed by Christopher Nolan (Inception,
Memento)

Promotional packs sent to those who had
registered on the web page

http://www.thegothamtimes.com/
The page was defaced in
order to build suspense as
the first images of Heath Ledger
as The Joker were released.
This is modern viral marketing and traditional
print based marketing working together.

Fan Involvement – Word of Mouth
Publicity Stunts:
 Warner Bros invited fans to follow a ‘case’ of
clues around the internet, tracking the Joker.
Finally, they were given a date and time to
meet up.
 Hundreds of fans arrived in New York to see
the bat symbol projected onto the side of a
skyscraper.

Warner Bros
 Warner Bros are a horizontally integrated
company. They own: Warner Bros Studios, Rock
Steady Games, DC Comics, Warner Bros Pictures,
Cinemas, Home Entertainment,
New Line Cinema
 The success of the
film will influence sales of
related products and vice
versa

Cross Media
Institutions like Love Film need to keep up with
what audiences want.
The ‘new’ trend for watching films…
http://www.lovefilm.com/browse/film/watch-online/
https://signup.netflix.com/?mqso=80031973&locale=en-GB&mkwid=scxFYTeEH&pcrid=9942356525

The Dark Knight
 Featured the opening sequence shot using
IMAX technology.
 It was the first time ever that a major feature
film was even partially shot on IMAX cameras.
 It broke box office records for IMAX, taking in
about $6.3 million from 94 theatres in the U.S
and Canada over the opening weekend.

The Dark Knight
 IMAX records and displays images at far
greater size and resolution than other film
formats.
 It increases the resolution of the image by
using a much larger film frame. To achieve
this, 65 mm film stock passes horizontally
through the cameras. Traditional cameras
pass film vertically.
 Standard film shoots at 24 frames per second.
In order for IMAX to match this, 3 times the
length of film rolls through the camera.

The Dark Knight
 The Dark Knight cost approximately $180 million
to make.
 Warner Bros. held the world premiere for The
Dark Knight in NYC on 14th July 2008.
 Screened at an IMAX cinema, the film’s
composers (Newton Howard and Hans Zimmer),
played part of the film score live.
 It was then distributed to 4,366 cinemas, in the
U.S and Canada, breaking the previous record
held by Pirates of the Caribbean.
 Released on 24th July 2008 in the U.K, it was just
in time for the summer holidays.
 Warner Bros. re-released the film in January
2009, to enhance the chances of Oscar success.

Media Ownership
 All media (film, TV, print, music) is owned by a
company.
 This company holds the ‘rights’ to publish, distribute
and manipulate their work to make a profit to fund
their next product.
 When an existing story, book, play, comic etc. is made
into a film, the rights have to be bought from the
author, as it is their ‘intellectual property’.
 Warner Bros. bought the rights to make the first 4
Harry Potter films for $1m.
 Film makers ‘option’ a script – meaning they only pay
10% of the fee to secure the rights and then pay the
full amount if the project is ‘green lit’.
 There is normally a time limit on an option – 2 or 3 yrs.
If the film isn’t made in this time, the option can be re-
sold.

Media Ownership
 Warner Bros. Pictures produces and
distributes, finances and co-finances films and
maintains worldwide distribution rights.
 Hollywood is driven by profit and success.
Through cross media convergence, The Dark
Knight has become a global brand. Warner
Bros. and DC hold the copyright
to the brand.

Integration
 Vertical Integration (Home Video, Interactive
Entertainment, Animation, Television)
 Horizontal Integration (New Line Cinema studio, DC
comics, The CW network, Rock Steady games)

Media Ownership
 Audiences are loyal to brands and will see
every film: Star Wars, Harry Potter, Toy Story,
The Lord of the Rings, Spiderman etc.
 Profit is made through box office sales, DVD,
Blu-ray, toys, games, clothes…

Piracy
 Piracy is the illegal distribution of media
without the permission of its owner.
 A disadvantage of digital technology is the
ease with which films can be pirated. This is a
major problem for the film industry. It effects
profits and breaks copyright law.
 Illegal downloads – leaking and sharing of
films over the internet can spread within
minutes.
 Illegal filming of screenings – fake DVDs.

Combating Piracy
 An advantage of digital technology is that it
allows films to be released simultaneously,
and legally, around the world. Previously, the
delay in films reaching other parts of the
world encouraged piracy.
 Digital encryption means that films can be
securely distributed.
 3D cinema is currently more
difficult to pirate
http://www.thehobbitblog.com/?cat=8

Anti-Piracy : The Dark Knight
 Warner Bros. devoted six months to an anti-piracy
strategy that involved tracking the people who had a
pre-release copy of the film at any one time.
Shipping and delivery schedules were also staggered
and spot checks were carried out both domestically
and overseas to ensure illegal copying of the film
was not taking place in cinemas. A pirated copy was
released on the Web approximately 38 hours after
the film's release. An illegal download website
taunted the movie industry over its ability to provide
the movie free, replacing its logo with a provocative
message.

The Dark Knight
 Awards:
http://www.imdb.com/title/tt0468569/awards
 The Dark Knight Rises: Trailer
http://www.youtube.com/watch?v=GokKUqLcvD
8
 The Dark Knight Rises: Fan-made titles
http://io9.com/5879763/fan+made-dark-knight-
rises-titles-so-good-they-deserve-to-be-in-
nolans-movie

Shifty
 http://www.bing.com/videos/search?q=shifty+trailer&qpvt=shifty+trailer&mid=C110D
7428498C480DCA8C110D7428498C480DCA8&FORM=LKVR#
http://microwave.filmlondon.org.uk/
http://microwave.filmlondon.org.uk/get_the_knowledge/legal_m
atters/rights_ownership/

Shifty
 There has been an expansion in films of very low
budget - known as ‘micro-budget’
 Shifty was made in 2008 under the Microwave
scheme (UK Film Council)
 Microwave was set up to widen participation and
access for young London-based filmmakers
 The scheme offers support for films to be made in 18
days and with a budget of less than £100,000

Shifty
 The film was written and directed by Eran Creevy.
 It was the second Microwave film to be released.
 Released on 24th April 2009
 Opened with 51 prints through independent distributor
Metrodome
 Opening weekend – took £61,000
 After 3 weeks down to 12 prints after taking over
£131,000
 Final box office - £143,000

Shifty
 The film was distributed by Metrodome who
marketed the film in the following ways:
 Spent about £50,000 on prints, administration and
advertising
 They felt that the film was similar to
Kidulthood/Adulthood and wanted to reach a similar
audience – known as Urban Genre

Shifty
 However, to maximise the reach of the film Metrodome
produced three trailers all tailored to appeal to different
audiences.
 It was felt that the film could also appeal to the middle-
class Guardian reading audience.
 The trailer targeting this audience featured a more
classical style soundtrack whilst the ‘urban’ trailer
featured a hip-hop style soundtrack that didn’t actually
feature in the film
 http://www.bing.com/videos/search?q=shifty+trailer&docid=1632815022351&view=detail&mid=4C519BF686951
F92296F4C519BF686951F92296F&FORM=LKVR18#
 http://www.bing.com/videos/search?q=shifty+trailer&docid=1651745621403&view=detail&mid=C110D7428498
C480DCA8C110D7428498C480DCA8&FORM=LKVR#
 http://www.bing.com/videos/search?q=shifty+trailer&qpvt=shifty+trailer&mid=5E71A2433C2215F6D1D05E71A2
433C2215F6D1D0&FORM=LKVR4#

Shifty – Microwave Scheme
 What is the Microwave scheme?
http://www.filmeducation.org/shifty/production_q
4.html
 What did you learn from the Microwave scheme?
http://www.filmeducation.org/shifty/production_q
4.html

Shifty – Microwave Scheme
 What were the challenges of micro-budget film
making?
http://www.filmeducation.org/shifty/production_q6
.html
 They had to make the film in 18 days
 The Dark Knight started shooting in April 2007 and
was released in July 2008 with location shoots in
Chicago, London, Hong Kong

Marketing & Distribution: Shifty
 Metrodome had ambitious ideas for advertising
http://www.filmeducation.org/shifty/production_q7
.html
 Metrodome allowed the producers to have an input
into the posters and trailers of the film
 Metrodome was attracted to Shifty because it has a
universal theme of friendship at its heart; an
audience could relate to the story it was telling; and
the location could be familiar to British cinema goers

 To reach the target audience, cross media convergence
advertising took place:
 Adverts ran on pirate radio stations
 Fly-posters were used
 ‘Business cards’ representing the character of Shifty as a
drug-dealer were distributed
 Viral campaign through emails – ‘no publicity is bad publicity’
 Music competition – music could be downloaded from
website and remixed into new track. The winner received
£500 and studio time with Riz Ahmed
 Shifty website
 Social networking sites (Facebook, Bebo, Myspace)
 Music – MP3 downloads
 CD – the soundtrack
 Youtube – the music video
 Cinema and television trailers (also on Youtube)
 DVD/Blu-Ray

Hollywood vs British Indie
 Hollywood is dominant. American cinema chains show
American movies.
 British independent film doesn’t have the budget to
compete with the money spent on ‘talent’, SFX and
marketing.
 However, since the digitalisation of cameras and
projectors, British cinema can operate in a more cost
effective way and target national audiences.
 Initiatives such as the Microwave scheme allow micro-
budget British films that tell British stories, such as
Shifty, to be made.
 Cinemas like Hollywood blockbusters because they will
bring in revenue. Cinemas only make money from sales
of extras (popcorn, drinks etc.), so they want to screen
films that will guarantee an audience.

 What attracted Metrodome to Shifty?
http://www.filmeducation.org/shifty/marketing_q3.
html
 Microwave scheme was instrumental in
Shifty’s release
http://www.filmeducation.org/shifty/marketing_q4.
html

UK Film Council
 The UK Film Council was set up by the Labour
government as a non-departmental public body in 2000.
 The purpose was to develop and promote the film
industry within the UK. Along with BBC Films and Film4,
the Film Council was the main port of call for film makers
trying to get feature films off the ground, especially if
those films are outside the mainstream, or ‘specialised’.
 The council received around £15m funding per year.
 Funded by the National Lottery, it channelled about
£160m into more than 900 films over the last 10 years,
including Bend It Like Beckham, This is England, The Last
King of Scotland and Streetdance 3D.
 In July 2010, the Department for Culture, Media and
Sport (DCMS) announced it would be abolished to save
costs.

BFI
 The UK Film Council closed in April 2011.
 The BFI (British Film Institute) has taken over its core
functions: distribution of lottery funding; production;
supporting distribution and exhibition through Prints and
Advertising Fund; certification of UK films (UK
filmmakers benefit from tax relief); Research and
Statistics; education; archive; National Screen Agencies;
skills development with Skillset.
 Overall responsibility for the BFI is held by the DCMS.
 BFI increased the lottery fund by 20% from £15m to
£18m in 2011/12
 The UK Film Council’s Diversity Unit has not been
transferred.

Screening British films nationwide
 Studios are selective about where and when they
release their films. E.g, a Bollywood film would not
do as well in an area where the population is 99%
white.
 Looking for Eric is a good example of different ways
of marketing in different localities and for audiences.

Digital is the Future
 The digitalisation of film makes it cheaper to
produce, distribute and exhibit.
 Independent film makers can produce larger
numbers of prints at a smaller cost, therefore they
will not lose as much money if the film does not
attract such a large audience in the cinemas.
 For Shifty, the cinema exhibition was mainly an
advertising method – to get people to buy the DVD.
 This should ease the path for more independent
British films into more cinemas across the country.

Websites
 Odeon’s Back British Film
http://www.odeon.co.uk/fanatic/back-british-film/
 British Council Film
http://film.britishcouncil.org/about-us/about-
british-council-film
 BFI http://industry.bfi.org.uk/
 Film London http://filmlondon.org.uk/

You need to be able to discuss…
 Production: The making of the film; pre-production and funding;
shoot (format); post-production (SFX).
 Distribution: The way the film gets to screens; distribution
company.
 Marketing: The process of raising awareness; targeting an
audience; creating publicity through various methods.
 Exchange: The point of sale: buying the ticket (online or in person);
downloading; receiving a DVD in the post etc.
 Exhibition: The way we view; getting the film to a paying audience.
 Nature of audience consumption: The different types of ways to
watch films; what is the current trend.
 Relationships between audiences and institutions: Target
audience; how do different types of people watch films and why.

With reference to case studies…
The issues raised by media ownership in contemporary
media practice.
 The problems or advantages, pros and cons.
 Large Hollywood companies, like Warner Bros., are a
vertically integrated company (The Dark Knight)
versus small independent films (Shifty).
 Budget.
 How this filters through to exhibition and profit.
 Is it fair that Hollywood can dominate and influence
an audience’s taste by only allowing them to watch
what they allow?
 Niche audiences – Curzon cinema goers.

The importance of cross media convergence and synergy in
production, distribution and marketing.
 Media convergence is having an enormous impact on the film
industry because of the ways in which institutions can
produce and market for audiences/users on a widening range
of platforms, capable of receiving their films.
 New technologies: mobile phones, internet, iPad, Playstation,
websites. Traditional: posters, billboards, trailers, interviews,
reviews etc. http://www.bbc.co.uk/news/uk-england-london-
17099518
 Viral campaigns – advancing the effective ‘word of mouth’
strategy
 Newspapers giving away free merchandise – mutually
beneficial to both companies
 ‘The Hobbit’ blog.
 Warner Bros. as producer, distributor and exhibitor.

The technologies that have been introduced in recent years at
the levels of production, distribution, marketing and exchange.
 Digitalisation of film (cameras, cinemas, screens) and this
effect on production costs, accessibility (downloading),
audience consumption, piracy. Both positive and negative.
 Avatar – the highest grossing film of all time
http://www.youtube.com/watch?v=L6JXUoWeZ7Q&feature=r
elated
 Editing on laptops, shooting on stills cameras (Canon 5D etc.)
CGI, 3D
 Audience ability to interact – through viral marketing
campaigns and post-exhibition. E.g, fan made tributes
 Titles for The Dark Knight Rises
http://www.comicsalliance.com/2012/01/27/dark-knight-
rises-fan-titles-credits-video/
 Prequel to LOTR, fan made The Hunt for Gollum
http://www.thehuntforgollum.com/updates.htm

The significance of proliferation in hardware and
content for institutions and audiences.
 This means the increase of something: i.e. digital
cameras, editing software (Final Cut), CGI, 3D, film
genres that need lots of SFX, etc. which are part of
current trends.
 How significant is this for British Indies versus
Hollywood?
 The hardware we use to watch films – iPad, mobile
phones, video-on-demand, online, LoveFilm, illegal
download.

The importance of technological convergence for
institutions and audiences.
 The internet is acting as a hub for many aspects of film:
banner ads, links to websites, You Tube videos,
interviews, trailers, blogs, fan-made sites etc.
 Mobile phones don’t just make calls/text they are now
alarm clocks, mini offices, cameras, cinemas. Think of
multiple formats and platforms.
 Positives: greater audience; social networking word of
mouth; cheaper; more choice.
 Negatives: piracy; less money for Hollywood; cost of
changing from film to digital cinema projectors; earlier
release; 3D.

The issues raised in the targeting of national and local audiences
(specifically British) by international or global institutions.
 BFI (previously UK Film Council) getting low budget British films
made.
 Budgets – Britain versus Hollywood.
 Independent cinemas – Curzon, Rio in Dalston etc.
 Relevant marketing techniques to attract different audiences in
different localities.
 Slumdog Millionaire was originally aimed at Asian audiences living
in various parts of the UK and also at Danny Boyle fans. The film's
unexpected success at film festivals and being nominated for the
Oscars led to another theatrical release and a crossover from the
"indy" art-house into the mainstream.
 Disney's Mirimax (Pulp Fiction, There Will Be Blood,
Trainspotting)and Fox's Fox Searchlight (The Descendants, The Best
Exotic Marigold Hotel, Black Swan) are examples of boutique, art-
house off-shoots producing indies and foreign films.

The ways in which the candidates’ own experiences of
media consumption illustrate wider patterns and
trends of audience behaviour.
 Questionnaire
 Audiences are changing the way they want to
consume – home cinema and downloads versus
costly cinema. Identify trends.
 Examples: Orange Wednesdays (synergy), Netflix,
LoveFilm, DVD, Blu-Ray, Sky Box Office etc.
 You have heard about illegal downloads – what
problems does this present and what will companies
need to do to combat/work with this in future?

The Devil is in the Detail
Make sure you remember:
 There is only ONE exam question.
 Break it down, word by word, if you don’t fully
understand at first.
 Use the correct terminology.
 Develop your answer so that you are incorporating
as much information you have learnt as possible.
 Detail and examples from case studies are vital.
 Manipulate your knowledge to make it suitable to
question.

Revision a:s film industry

Recommandé

Recommandé

Contenu connexe

Tendances

Tendances (18)

Similaire à Revision a:s film industry

Similaire à Revision a:s film industry (20)

Plus de CoombeMedia1

Plus de CoombeMedia1 (20)

Dernier

Dernier (20)

Revision a:s film industry