MEST2: Print - Draft 1

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BFI notes

Institutions distribution audience:
- Arthouse - BFI, independent films, low budget. 
- Multiplex - blockbuster (Oden) 
- Cross over - award nominees

British Genres

- Heritage: view of British History

- Social Realism 

- Franchise Films: Offer similar audience pleasures to other blockbuster films and fulfills expectations of international audience 

- Horror: Tradition of going back to Gothic 

- Urban Fairy tale Rom Com 

National audience watched British films for:

- information/education 

- social interaction 'crowd pleasers', Oscar nominations 

- personal identification 

- pure entertainment 

US/International audience

- information/education 

- social interaction 'crowd pleasers', Oscar nominations 

- personal identification 

- pure entertainment 

Film examples:

Franchise: Kingsman - stereotype of Britishness fulfils expectations for international audience. 

 - pure entertainment for audience who are uk audience, blockbuster theme, the use of language could create personal identification. 

- US/international audience - Pure entertainment: building, state homes, seeing the upper class, the typical stereotype of London life is shown. 

Heritage: A Royal Night Out - reinforces patriotism, tourist marketing strategy, miss-en-scene comes significant. 

US/international audience - Information/education 

                                      - social interaction

                                      - Class difference 

Social Realism: The selfish Giant 'arthouse' 

- Critical of British life, not reinforcing patriotic values, challenging to audience comfort zone, focus on working on working class, deals with social problems. 

Uk audience would watch this for - personal identification

US/international audience would watch it for - Information/education and personal identification

Horror: The Women in Black - Traditional of gothic, Hammer films in 1960's - 1970's -offered costume drams with sex and drugs, drugs censorship, successful novel & stage show.

UK audience - adrenaline, mis-en-scene

US/international audience - stereotypical horror film

'Urban Fairytale' - Rom-Com: One day - Romantic comedies, partially working title, typical love story conventions, Set in contemporary London - tourist landmarks. 

Institutional case studies: Vertigo and Warp films

Vertigo:

- formed in 2002 

- in built audience - easy to market 

Vertigo today - "Independent film company"

- they want to identify new talent and want to ensure that films are distributed. 

- they have done "range of products" - Horrid Henry, Pudsy, Bill, The children. 

- post production 

- sales and distribution: protagonist 

- ancillary sales - Allan Hibio 

"Anyone can make aa dilm and distribute it on the internet. 

- They ensure film reaches to the target audience. 

- They have teamed up with Simon Cowell 

- Developing BGT winners. 

- Low budget

Warp films:

- formed in 2001 

- Off shoot of successful electronic music 

- challenging and experimental music 

- they have a distribution network already established 

- First DVD singles - My Wrongs 

Very distinct brand identify:

- Northern English 

- Auteur filmmaking within a market 

- Artist driven content 

- Aimed at middle ground between 'art-house' and 'multiplex' 

They fixed 'Aphex Twin - Come to daddy' 

- Developed new talent 

- Warp X - extremely low budget 

- Screen Yorkshire & Film4

- Reinforce brand identity 

- £4,000 - £12,000 budget 

- Publishes low budget 

- Inspire creative freedom 

- "less character - better film"

- Collaborated with BBC in 2007 and Sky in 2015

Streetdance 3D 

£6,700,000 - No1 on the first week 

Global total $17,695,464 - it is a universal appeal 

Dead Man's shoes 

First feature 

improvised 

low budgeted - committed cast/crew

Benny and the Bull 

Creative ideas for epic movies