Monday, 19 May 2008

What is there to DEBATE about British Cinema?

Views from the A2 Media group:

Portrayal of British Films - how the films portray Britain itself;

The Audience British Films target - niche or mass market?

The Funding - How much/little do the films cost? How much do they take at the box office and on DVD etc?

Funding - are co-productions really British?

Distribution - are the focus films popular overseas?

How is Britain Represented in Film? Is it fair and accurate?

How healthy is the British Film industry?

Who is making British Films? Does everybody have an equal chance of getting funding for a British Film (Cultural Hegemony + Representation)

Can British Film change or challenge people's view of society e.g Bullet Boy used to highlight gun crime; Dirty Pretty Things gives an alternative view on illegal immigrants;

Is the Cultural Test an accurate test for British Film? Should it be more specific? Bourne Ultimatum is a British Film!! Why?

Should British Film represent Britain in a non-stereotypical way?

What is the relevance of British Film? Is it just a label for tax breaks?

What is National Cinema? Do we need a British Film Industry in today's global market?

British Industry Slideshow

http://www.slideshare.net/longroadmedia/cont-brit-cinema-industry2

Monday, 12 May 2008

More useful web sites

http://www.filmeducation.org/filmfocus/industry.html (Industry perspective)

http://www.filmeducation.org/thisisengland/index.html (Resource pack for This Is England)

Bullet Boy: Marketing

Bullet Boy Director Saul Dibb




Bullet Boy is a low budget, independent feature helmed by first-time feature director Saul Dibb. The film stars UK rapper Ashley Walters as Ricky, a young man newly released from prison, but unable to extricate himself from the cycle of gang violence that has become an everyday feature in some parts of inner-city London. The film describes, with particular insight, the effects of Ricky's life on his mother and, especially, his younger brother.

Following festival screenings at the end of 2004, the film quickly gathered a reputation as the first film to tackle the difficult subject of contemporary gang and gun crime in Britain’s inner cities. In Hackney, where the film is set, local people saw the film contributing, in one way or another, to the ongoing debate. By the time the film was released, it had accumulated both word-of-mouth and press coverage in the news pages.

The release of Bullet Boy was handled by Verve Pictures. On the face of it, Bullet Boy is a specialised film - its naturalistic representation of characters, time and place, and the use of authentic locations and language have drawn comparisons with milestone British films including Ken Loach's Kes (1969) and Horace Ove's Pressure (1975). This take on contemporary urban life offered a unique selling point for the film, and gave the distributor some confidence that the film would receive exceptional reviews.

Verve Pictures however, saw the potential of the film in the wider market beyond the arthouse, especially with a young black audience drawn by the presence of Ashley Walters (of So Solid Crew, here making his big screen debut) to seek out the film in key urban multiplex sites. In order to broaden the theatrical release of the film, Verve applied successfully for funds from the UK Film Council's P and A Fund.

The film was released on 8th April 2005, opening on 75 prints UK wide, in a combination of established independent cinemas and multiplexes concentrated in greater London and other major urban centres.

The poster design aims to convey the look, subject and tone of the film, supported by key press quotes, while also foregrounding the major presence of Walters.

The ad campaign, too, aimed for diverse audiences, interested in film and music, urban black and white. The campaign included advertising in all of the national daily newspapers that allocate significant space to film reviews, plus two tabloids, newspapers with a black perspective, a selective London Underground campaign and extensive use of radio stations with a concentration on R 'n' B and Garage, the musical forms with which Walters is associated.

Towards the end of its first six months of theatrical release, the film had grossed an impressive £450,000 at the UK box office, most of this achieved in carefully selected urban multiplexes rather than specialised cinemas. It was anticipated that the substantial audiences and awareness generated for the theatrical release would ensure success for the DVD release of the film, six months after the theatrical opening.

Offical website: www.bulletboy.net

Bullet Boy: Brief Summary


Brief synopsis:

Ricky (played by Ashley Walters, aka So Solid Crew's Asher D) is just out of a young offenders' institute, heading home to Hackney and determined to go straight. Instead, he heads straight for trouble when he becomes involved in a street confrontation, siding with his best friend Wisdom (Leon Black) against a local rude boy. The trouble escalates into a series of tit for tat incidents that threaten to spiral out of control. Ricky's 12-year-old brother Curtis (Luke Fraser), hero-worships Ricky, though he appears smart enough to know he doesn't want to follow his example. Yet, despite the stern warnings from his mother (Claire Perkins) and support from her friends in the community, might Ricky's bad boy allure be too attractive for Curtis to resist?

Buy Bullet Boy from Amazon.co.uk

Offical website: www.bulletboy.net


Format: 35mm, Kodak
Year of Production: 2003
Running Time: 91 mins
Director: Saul Dibb (first feature)
Producer: Ruth Caleb, Marc Boothe
Executive/Co-Producers: David M. Thompson, Paul Trijbits, Paul Hamann
Editor: John Mister, Masahiro Hirakubo
Screenwriter: Saul Dibb, Catherine Johnson
Director of Photography: Marcel Zyskind
Sound: Albert Balley
Principal Cast: Ashley Walters, Luke Fraser, Claire Perkins, Leon Black


Production Company:
Shine Limited
108 Palace Gardens Terrace
London W8 4RT
Tel: +44 (0) 20 7313 8000
Fax: +44 (0) 20 7313 8041
info@shinelimited.com
www.shinelimited.com

Useful Web Links

A range of useful links for this Media Issue and Debate:

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

http://www.bbc.co.uk/fivelive/entertainment/kermode.shtml (Mark Kermode's film reviews from Simon Mayo's show on Five Live);

http://news.bbc.co.uk/1/hi/in_depth/entertainment/2003/british_film_industry/default.stm (Overview of the British Film Industry and the role of UK Film Council)

http://www.bbc.co.uk/dna/filmnetwork/A7775535 (Interview with Director Stephen Woolley about the state of British Film)

http://search.bbc.co.uk/cgi-bin/search/results.pl?q=british+film+industry+2008&scope=all&tab=all&recipe=all (click on Video link for Mark Kermode's view on 2008 Bafta nominations)

http://www.bbc.co.uk/dna/collective/A818507 (A BBC report on the demise of Film Four Distribution)

http://www.timesonline.co.uk/tol/news/article3890470.ece (Article from The Times about British talent at this years Edinburgh Festival)

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/article3122744.ece (The Times on past Brit films and also some good links for young British Film makers)

http://www.timesonline.co.uk/tol/comment/letters/article860639.ece (The Times artcicle on British Film funding)

British Film Practical Project


The UK Film Council


Who they are: the Government's strategic agency for film in the UK.

Why they're here: to help make the UK a hub and natural home for film in the digital age: a place with a diverse and vibrant film culture and a flourishing, competitive film industry.

What they do: work closely with the Government and the film industry – offering policy advice about industrial, economic and cultural issues affecting film. They make policy and provide funding.

Where their funding goes: Every year they distribute around £27 million from the National Lottery and £27 million from the Government to support: script development, film production, short films, film export and distribution, cinema, film education, culture and archives, festivals and audience support schemes.

They fund First Light, Skillset, the British Film Institute and several regional and national screen agencies.

Four key aims:
1.Build a competitive film industry with the creativity and skills to succeed
2. Stimulate greater choice for film audiences
3. Widen opportunities to learn about film and encourage more people to use them
4. Promote UK film around the world

The UK Film Council's policy priorities:
Develop film education and media literacy.
Support film culture and archives.
Promote the relationship between UK film and UK broadcasters.
Encourage inward investment into UK film.
Support international co-production.
Combat piracy.

Build diversity and inclusion in UK film.
Improve digital access to film.

For more information go to http://www.ukfilmcouncil.org.uk/








Past Questions

A list of past questions for British Cinema:


JANUARY 2008

Discuss what you consider to have been the strengths of the British cinema industry in recent years.

"The country of origin of a film is irrelevant. Why should we be bothered if all the films at our cinemas were made in the USA?" Discuss this view.


JUNE 07
Discuss the view that British films, regardless of their quality, struggle to achieve commercial success.

"The British film industry mainly consists of a wealthy and privileged elite who represent British culture in a very narrow way." Discuss this view.


JUNE 2006

How has the British film industry managed to survive?


JANUARY 2006

How far is it important, for Britain to have a successful film industry?


JUNE 2005

How far has the success of British fims since 1990 been due to their representation of 'Britishness'?


JANUARY 2005

Why is it important for Britain to have a film industry?


JUNE 2004

What factors have contributed to the success, in the UK and/or abroad, of British films produced since 1990?


JUNE 2003

What factors determine whether or not a film can be defined as 'British'?


JUNE 2002

With Reference to at least two British films made since 1990, analyse how their content and style reflect attitudes and conditions in Britain at the time that the films were made.