Sunday, 4 October 2020

THE FILM INDUSTRY: EXHIBITION

In our study about the Film Industry, we have been working from both the FDA materials and the FutureLearn course.

 

Please read today’s news about the latest Bond release and Cineworld.

Read the article copy / paste the questions into a Word document and save into your laptop folder FILM INDUSTRY. Email me by Thursday 8 October.

 

Header for your document: YOUR NAME    The Film Industry: Exhibition

 

1.    How many theatres does Cineworld have and how many jobs are involved?

2.    MGM and the UK’s Eon Productions have decided to push back the release of the already delayed latest Bond blockbuster to 2021 with what impact on Cineworld?

3.    What hopes had the cinema industry pinned on No Time To Die ?

4.    What part did Christopher Nolan’s Tenet play in the decision?

5.    When are when Warner Bros’ Dune and Wonder Woman 1984 are due to be released, and why at that time of year?

6.    For Phil Clapp, chief executive of the UK Cinema Association, is Cineworld the only exhibitor threatened by the decision of the film studios to postpone big-budget releases?

7.    How had Disney released Mulan?

8.    How have smaller operators like Picturedome managed?

9.    What has the crisis meant for Peckham Plex, an independent cinema in southeast London?

10.  Explain in detail the comment “The delay is not only a blow to cinemas.”

11. How many theatres are there in the Vue chain?

Cinema giant Cineworld to shut after 007 fiasco

The decision to push back the release of the new Bond film again could bring down the curtain on struggling cinemas

Daniel Craig in No Time to Die, his fifth and final outing as James Bond

Daniel Craig in No Time to Die, his fifth and final outing as James Bond

Sabah Meddings, Liam Kelly and Shingi Mararike

Sunday October 04 2020, 12.01am, The Sunday Times

Cineworld, which has 128 theatres in the UK and Ireland, is this weekend writing to Boris Johnson and the culture secretary, Oliver Dowden, to say that the industry has become “unviable” because of the decision by film studios to postpone big-budget releases.

It is drawing up plans to close all its UK sites as soon as this week, according to sources familiar with the discussions. The move puts up to 5,500 jobs at risk.

Film industry bosses had hoped that the planned release of No Time to Die would kickstart a revival of cinema-going next month and resuscitate a sector that has been fighting for survival since the lockdown in March.

But on Friday, MGM and Britain’s Eon Productions said the latest Bond film, due to hit UK cinemas on November 12 — having already been delayed from April — would be pushed back to April next year.

The decision follows a lacklustre box office performance for Christopher Nolan’s Tenet and leaves cinemas with virtually no big movies to lure families until late December, when Warner Bros’ Dune and Wonder Woman 1984 are due to be released.

Bond’s delay will be a huge blow to cinema operators who had brought staff back from furlough and reopened in anticipation of a busy opening weekend.

Phil Clapp, chief executive of the UK Cinema Association, said: “The announcement is probably the most serious blow to UK cinema operators of a number of similar announcements over the past few weeks and will undoubtedly cause a significant number of cinemas to close again.”

Film studios had already pushed back the release of some films and opted to show some on streaming services instead. Disney shunned cinemas altogether with its newest film, Mulan, which it released on Disney Plus. It has left cinemas scratching around for something to show.

Adam Cunard, whose Picturedrome group owns seven cinemas in towns including Bognor Regis in West Sussex and Wisbech in Cambridgeshire, has brought in local comedians to entice customers. Cunard, 33, said trading had been “horrendous” in recent weeks, with daily admissions down from 300 to just 20.

“When you rely on your summer release as Pinocchio, an Italian film dubbed in English, God help you,” he said. “All my staff can see the writing on the wall. There’s no one coming through the doors.”

Picturedrome is among the 150 smaller operators that run 350 venues in the UK, out of a total of 800. The Cinema Association estimates that about 70% of these are open. The rest had been planning to start up again in the coming weeks in anticipation of the release of No Time to Die.

Peckham Plex, an independent cinema in southeast London, wrote to customers last month to tell them it would be closing on September 25, after poor sales since it reopened in August. “For some it is the understandable concerns about the risks of Covid-19, but for most it is about the lack of available films,” the chairman, John Reiss, wrote.

Tyrone Walker-Hebborn, who has owned Genesis cinema in Whitechapel, east London, for 21 years, called the Bond postponement a “huge blow on top of many others we’ve had in the last few months”.

Despite a “brief shot in the arm” from the release of Tenet in July, Genesis has been taking about 30% less than it usually would at this time of the year.

Cineworld, which is expected to announce its closure as early as tomorrow, had reopened the majority of its cinemas in July.

The chain, which declined to comment, warned last week that it did not expect admissions to recover to pre-Covid levels until at least 2023.

The majority of its staff will be asked to accept redundancy, with possible incentives to rejoin the company when theatres reopen — likely to be next year.

The delay is not only a blow to cinemas. The 007 franchise has scores of commercial deals worth hundreds of millions of pounds with brands such as Aston Martin, brewer Heineken, watchmaker Omega and DHL, the delivery company. David Haigh, chief executive of the consultancy Brand Finance, said he estimated the Bond brand is worth as much as £10bn.

The delay means a painful few months ahead for British cinema. Tim Richards, chief executive of the Vue chain, which has 90 cinemas in the UK, said there were many occasions when a Bond release would be the biggest story of the year. “It will be a potential death blow to smaller operators,” he said.

 

Wednesday, 21 March 2018

THE FILM INDUSTRY

From last year's blog:
CONTENT
Know your bullet points: what to expect

Write out and learn how to define key terms ("By synergy / cross-media convergence / exchange / media ownership (part 2)/ proliferation /distribution / digitization / production practices / hardware / software, consolidation of ownership / media ownership (part 1), platforms, megafranchize, I understand...")

Synergy: synergy, where two or more divisions of a company increase value by working together

Know your case studies:
The Big Six: Disney megafranchize model ( Avengers) and /or Rogue One A Star Wars Story (marketing & distribution case study)
NBC Universal: Jurassic Park (distribution case study),
 
Working Title: British Film medium /low budget (Legend, '71), 
BFI production fund: Sunset Song,
Micro-budget indie (Tortoise In Love)

Audiences: how are they served? Global, international, national, local, mainstream, niche.  

Types of film: blockbuster, sequel / prequel, heritage, literary, prestige, arthouse.

Structure your response logically (eg. concept, production values, distribution, exhibition)

Prepare sentences on your own viewing habits & your peers' and family's

What are current trends?  Review of the year; 
3D 
Piktochart of changes; NetflixNetflix, iTunes, Amazon, Vimeo online ; distribution; consumers as producers (bloggers, vloggers, memes - examples of what Henry Jenkins calls 'partcipatory culture', music videos ; A Life In The Day (crowd sourced). Is the success of the Jurassic World marketing / distribution campaign a trendsetter?

Learn Daleki's 4S megafranchize model by heart

Have a list of other movies, distribution campaign facts, tie-in facts, box office figures to throw into the mix (only films 5 years old or less) The Hunger Games, Skyfall, Sunset Song, Frozen, The Hobbit (scroll down),

TIPS
Revise from the class blog, your BFI study day notes, the FDA Yearbook 2015, past papers, examiners' reports, our own Claremont past exemplar material.

CASE STUDIES 
Start with the Hollywood studio and draw contrasts between Disney films and British films.
Star Wars: Rogue One
The Avengers
Legend
'71
Tortoise In Love case study also the BFI pdf on TIL
Ken Loach calls for diversity

Friday, 15 September 2017

THE FILM INDUSTRY: MARKETING STAR WARS ROGUE ONE

Getting to know our case studies:
  • The Big Six: Disney megafranchize model 

Monday, 5 June 2017

LAUNCHING A2 OCR H540

Welcome back after the exams.
Today we launch the A2 course, starting with making your A2 blogs.
Go to the A2 class blog from HERE.

Monday, 24 April 2017

SUMMER TERM CLASSWORK

Welcome back to the summer term. 
Your written exam G322 is in just over 3 weeks time on Thursday 18 May 2017.

Between now and then, classwork will involve consolidating our case studies for Section A (the institutions and audience of the US an UK film industries) and practising essays. We will also revise film language in TV drama. You should time yourself for practice essays done at home.

There is a list of all past papers on the blog as well as examiner's reports and exemplar essays which we will look at.

I will also deliver a revision lesson immediately prior to the exam on Wednesday 17 May. You are all asked to attend this session. I have also asked you to attend all media lessons unless you have study leave for other exams. Revision lessons with me in class are invaluable.

Clinics are also available in lunch break in White Cottage on Mondays.

Between now and the exam, you must ensure that you follow up all emails that I have sent you with advice about your blogs. Some of you have left huge gaps, or done low quality work, such as in the seven Evaluation questions.

All the work that we need to revise from, such as the case studies for the Hollywood film industry (Disney: Star Wars, Rogue One and Legend: Working Title and so on) are on our class blog.

Remember to incorporate your personal consumption and to cover trends, or you won't reach a level 4 mark.

We have done every exam paper set by OCR on television drama so you should feel confident, but do remember to be systematic:
  • TM, EG, EAA (the film language)
  • the focus (representations of gender, age, regionality, disability, sexuality, ethnicity)
From now on, the blog posts will not be posted every lesson as we will work from existing material.

Wednesday, 29 March 2017

AUDIENCES, FILM DISTRIBUTION, CASE STUDIES & TRENDS


From the FDA Handbook 2017 on Distribution, Foreword by David Putnam:



Tuesday, 28 March 2017

TRENDS & MY PATTERNS OF CONSUMPTION

We practised writing about this, the final bullet point in the specification outlining G322 section B (see below). We integrate our response about national trends and our our consumption. You made your own notes.

Major online Indie film distribution platforms for uploading content:
Consumers as producers
Web 2.0
iTunes
BitTorrent Bundle
Vimeo on Demand

Platforms for home screenings as consumers continue to migrate towards online platforms:
Netflix 
Amazon Prime
BBC iPlayer
BBC Britbox for US audiences 
Mubi
Home cinema
Other platforms that you prefer

But we also go to the cinema
for the wide screen, Dolby surround sound
for 3D experiences (name the film & say why you chose cinematic exhibition: e.g.Fantastic Beasts, Arrival, Star Trek Beyond, Rogue One)
for the social experience.

Cinema attendance is robust with figures for 206 holding up, only slightly down on the previous year at 2.6 times a year per head nationally.
At the BFI study day, Rob Kenny, director of operations for Curzon, told us of his plans to open 50 more screens in the next five years. Curzon's USP: screenings tailored to engage diverse audiences, Curzon Artificial Eye as distributor, special events.
 
 

Monday, 20 March 2017

FILM INDUSTRY: CASE STUDIES

After coursework deadline day on Wednesday 22 March, we will focus on exam work. You have already completed nine written exam questions on analysing representation in TV drama and many oral analyses.  Our next focus is the film industry question for which you will have a 'define the key terms' task and written essay questions.
 
Our starter activity involves a Disney case study Beauty and the Beast and an independent UK film '71.
Beauty and the Beast (2017)

  • its website clearly demonstrates how Disney uses horizontal integration in its marketing as the banner shows links to its TV, DVDs, games, merchandising, live events, theme parks, travel company, cruise line, videos, competitions and DisneyLife. 
  • Beauty took  $350 on its opening weekend. It had the biggest ever opening weekend for a PG-rated film, and notched up the seventh best opening overall. This marks Disney's best opening for a live action remake yet - beating The Jungle Book, Cinderella and Alice in Wonderland.
  • Disney can afford to use big names such as Emma Watson , Emma Thompson, Ewan McGregor and so on.
  • Is the film an example of Dalecki's '4 S' model? Yes: whilst not a sequel, Disney’s Beauty and the Beast is a live-action re-telling of the studio’s animated classic which refashions the classic characters from the tale as old as time for a contemporary audience. 
  • Budget $ 160, the most expensive musical ever made
'71 (2014)

  •  By contrast, '71 is a low-budget national film but one that aimed at international audiences as its subject (radicalization of young men during the Troubles in Northern Ireland) was of universal interest. Plot summary here.
  • Jack O'Connell had previously attracted critical acclaim for Unbroken (2014) appearing as a prisoner of war in a Japanese war camp. Directed by Angelina Jolie, this film made O'Connell known to an American audience.
  • 71 won Best Director at the 2014 British Independent Film Awards, after receiving nine nominations. The National Board of Review named '71 one of the top 10 independent films of 2015.
  • Budget, £8.1 million. Box office, $3.2 million.

Wednesday, 15 March 2017

EVALUATION Q.1 FORMS & CONVENTIONS

In today's lesson, we start Evaluation q. 1 by making the notes that will be posted as YouTube annotations. We view an example from a previous group. I give you a prompt list

Make sure that you keep the actual question in mind as you write.

If you work with your group to compose these annotations,  claim responsibility by identifying who wrote which note e.g. MARY: distribution company ident for Metrodome, a good choice because Metrodome is...

1 FORMS & CONVENTIONS

 In what ways does your media product use, develop or challenge forms and conventions of real media products?

Monday, 13 March 2017

CHECKLIST: EVALUATION

Deadline Wednesday 22 March.  

Unfinished work? Checked on Wednesday 22 March. IS YOUR NAME BELOW?

1. In what ways does your media product use, develop or challenge forms and conventions of real media products? Alexandra, Josie & Megan; Tom & Matthew; Cesca & Alfie; Oli, Alastair, CD & CGB
PRESENT THIS THROUGH YOUTUBE ANNOTATIONS
-------------------------------------------------------------------------------------------------------------------------

2. How does your media product represent particular social groups? Alfie
PRESENT THIS USING PINTEREST + SCREENSHOTS / VIDEOS OF CHARACTER INTERVIEWS
-------------------------------------------------------------------------------------------------------------------------

3. What kind of media institution might distribute your media product and why?
PRESENT THIS IN (leave as a blog post until I hear back from YuDu, which I have contacted about retaining the free version as we are an academic not commercial institution).
------------------------------------------------------------------------------------------------------------------------- 
4. Who is your target audience for your film?  Alfie, Matthew (audience profiles)
PRESENT THIS USING EMAZE
-------------------------------------------------------------------------------------------------------------------------

5. How did you attract/address your audience? Alfie & Cesca; Alexandra, Josie & Megan; Alastair, CGB, Callum D (where are the group's own social media creations?)
PRESENT THIS IN SLIDESHARE WITH SCREENSHOTS LIKE THIS
-------------------------------------------------------------------------------------------------------------------------


6. What have you learned about technologies from the process of constructing this product?  Alfie; Alastair, Megan
PRESENT THIS WITH  HYPERLINKS TO YOUR WORK + SCREENSHOTS
-------------------------------------------------------------------------------------------------------------------------


7. Looking back at your preliminary task, what do you feel you have learned in the progression from it to the full product? Alfie; Alastair; CGB, Josie
PRESENT THIS IN VISME LIKE THIS
OR IN YUDU LIKE THIS 

Sunday, 12 March 2017

TV DRAMA: PRIMEVAL


G322 TV Drama (Primeval June 2010) Use the school's CLICKVIEW (as the other link is now blocked). The extract lasts about one minute 30.

PREP: please email me before the start of the lesson on Monday 20 March
Note: your coursework deadline is coming up. The finished film together with valuation questions 2, 3, 4, 5, 6, and 7 must be on your blog by the published deadline of the lesson on Wednesday 22 March 2017.
Answer the question below, with detailed reference to specific examples from the extract only. 

1 Discuss the ways in which the extract constructs the representation of gender using the following:

  • Camera shots, angles, movement and composition
  • Editing 
  • Sound
  • Mise-en-scène

Exemplar Student Essay - G322 TV Drama (Primeval June 2010)


This students response achieved a very high grade due to the following points:



  • The student answered the question. This might seem obvious but when a response is unsuccessful the student usually doesn't relate to their answer to the question and so fails to pick up points.
  • The question in this case related to gender (male/female) representation. How the men/women were shown
  • The student gave detailed examples from the clip and then discussed the way in which this made the men/women in the scene "look".
  • The student analysed (pulled apart how the men/women were shown), they did not tell the story or describe the plot which is different from analyzing the clip. Do not story-tell.
  • Finally, they gave examples of technical codes to support their argument i.e. the low angle made her look powerful.

  
Read through the student essay below and use the mark scheme to examine where the marks are awarded. I have typed up this response as written and included the red ticks as they appear on the original script and this would indicate where the examiner awarded a mark.
remember the marks are awarded as follows:

argument/analysis/explanation 20 marks
Use of examples 20 marks
Use of terminology 20 marks




Key Media Concepts (TV Drama)
Wednesday 9 June 2010
Duration 2 hours (30 minutes viewing clip; 45 minutes each essay)

Section A: Textual Analysis and Representation

Answer the question below, with detailed reference to specific examples from the extract only.

Extract: Primeval Series 2 Episode 3, written by Richard Kurti and Bev Doyle, dir. Jamie Payne

1.     Discuss the ways in which the extract constructs the representation of gender using the following:

·      Camera shots, angles, movement and composition
·      Editing
·      Sound
·      Mise-en-scene
 (50 marks)

The representation of gender in the clip given conveys interesting and thought provoking ideas and contrasts between characters.

The young women called Abbey, her character steers away from the stereotypical image of women, young women, she is portrayed as a strong and feisty female, this is evident in the shots where she is operating a mechanical machine, with much skill and efficiency also. A wide shot is used when we first see her to establish the scene and location (the woods and forest). The close ups also of the end of the digger fortifies the fact that Abbey is experienced in using such a machine again reinforcing her non stereotypical portrayal, she is given the impression of a tomboy. The mis-en-scene used also fortifies this point, she has a short almost boyish hair cut and wears a leather jacket that makes us think of a character like Steve McQueen or perhaps “Greece”, mainly male, strong willed characters.

The fact that she also fights the Sabre-toothed Creature, saving the man’s life shows her tenacity. The shot that this portrayed through is a continuity edit. Also the wide shot of her running after the man being chased reinstates this point again, as the man, who stereotypically is supposed to be strong and courageous is in fact running and being chased, this is a contrast to the women who is running through the forest with a gun to help him for a second time! The dark shape of the gun in her hands, reiterates, power, as a gun, is in this extract, power.

The gentleman who is in a sky blue t-shirt is portrayed as more of an intelligent man, brain rather then brawn. When the sabre-tooth attacks there is a close-up of him in the hole cowering, this goes against the usual stereotypes of a man, a contrast between him and Abbey. Despite his cowering he does show an instance of courageousness, when he lures away the creature from Abbey. Despite this brave act he still is running away from the sabre tooth tiger, a continuity edit is present when he is running and also when he uses the zip wire, close ups show fear and exhaustion on his face. The fact that he also uses his belt on the zip wire again shows his brains over brawn. The mise-en-scene of his clothes convey a more stereotypical view of the man, they are neutral and earthy colours and are dirty and strained, this helps paint more of a picture of a mans man, or someone who is not afraid of getting their hands dirty.

The non-diegetic sound of the ambient sound-track helps convey the tension and fear and also helps make the pace of the action a whole lot faster, especially in the chase scene, a combination of this music and also the fast pace of the editing raises the tempo and tension. The blurring and wipes X between each edit gives the action the impression that it is too fast to see and fortifies the fact that the creature is very fast. The music becomes slower, but is ramped up with tension as (sounds?) drove on through the scene with the man with the shotgun, creating a sense of dread and anticipation! This along with the wide shot and the man’s face, riddled with anger and malice, conveys a tension filled shot.

The man who is wearing pink attire is portrayed as more of a pretty boy, lover not a fighter, the pink colour is more common to girls, women therefore gives him an air of effeminacy. The rest of the cast wear mainly earthy colours or smart suits etc, whereas he wears feminine colours turning the stereotypical image of a man on its head. The fact that he also doesn’t have a gun and instead, quite comically pulls a spade out, whereas the other two people in the shot both have guns, one a man and the other a women, this gives the impression that the women is almost more reliable than the man wearing pink.

The wide shot showing the tree in the barn gives a very theatrical feel to it, almost tries to emulate a sense of bravado and coolness that other films use e.g. the opening shot of Reservoir Dogs. Also the fact that there are three of them may portray symbolic qualities, like the three musketeers etc.

The lady who is talking to the gentleman who breeds dogs is portrayed as a pristine, more of a stereotypical view of a lady. This is conveyed through the sequence “My Best Coat”! This provides a clear insight into her personality. She is strong whilst using words but when the man pulls out a gun a close up reveals her devastation and fear. Even the colour of the ladies “Best Coat” is white, which provides the thought of purity and pristine.

The over the shoulder shot and the cross cut editing reveals the rising anger of the gentleman breeding the dogs. He is weak when the pristine women threatens him but has much more power when he picks up the gun. The line “won’t be pushed around anymore” indicates his explosion of anger. The diegetic noise of the barking dogs also convey a sense of threat and hysteria. This shot conveys the power of a weapon and also the power of words and how gender can be powerful.

 This extract turns a lot of ideas mostly stereotypical views of gender on its head, which therefore gives the viewer an interesting watch.     





Level 4

Explanation/analysis/argument
20
20
Use of examples
20
17
Use of terminology
10
7
Total
50
44