Monday, 13 November 2017

THE FILM INDUSTRY: AUDIENCES

Audiences continue to be robust in the congested and competitive film market,
according to The FDA Handbook 2017 which we study today.

"An unprecedented 900 individual titles were launched in 2016."
The top 10 films in 2016 show that The Big Six megafranchize model of film properties tends to be sequels or action films, typical of the last 5 years. Mainstream audiences visiting multiplexes account for 80% of cinema going and this looks set to continue.



TRENDS

Audiences turn to a variety of platforms for different types of experience and the continued explosion of digital platforms affords both high quality home viewing experiences on laptops, handhelds like mobile phones and game machines as well as entertainment on the move.
However, cinematic exhibtion is growing and will continue to grow. 

"Digital technologies have already revolutionised the ways in which films are made, marketed and watched – and that will surely continue to be the case. Notwithstanding the exponential improvements in smart TVs (increasingly with 4K image resolution), and consumers’ increasing migration towards
‘on demand’ streaming services instead of discs, cinemagoing itself enjoyed a robust year.
To the reported surprise of many, 2016’s cinema box-office overall kept pace with that of 2015, which was the highest grossing year in UK cinema history. The year’s box-office receipts soared past the £1 billion mark, setting a new record a full three weeks earlier than in the previous year." David Puttnam

Most audiences patronise multiplexes:

"Around 80% of modern-day cinema visits are of course to multiplexes, principally concentrated in the hands of three large UK operators. A few points of additional market share are occupied by specially designed ‘boutique’ cinemas, catering for local communities with sophisticated food and drink options, luxury seating and a tailored mix of films and events."
However, audiences are turning to more personal experiences offered by independent cinema chains and boutique cinemas such as Everyman and Curzon which offer niche audiences special experiences such as Q&A sessions with directors, preview screenings, foreign langauge films, additional content such as NT Live, intimate settings with lounges and bars, Pullman seats and food service.
"A unique experience, Everyman Cinemas is an independent network of boutique cinemas. With a passion for quality, from service of food and drink to seating and films, every cinema also has a unique bar or foyer space. Present venues (21) range from the iconic 100 year old Screen on the Green, to brand new boutique spaces in Canary Wharf and Birmingham Mailbox."
Curzon has 20 cinemas with 42 screens. Curzon's Rob Kenny, Director of Cinema Development, talked at the BFI in 2016 of opening 50 more screens in the next 5 years and since then Oxford, Hoxton and Aldgate have opened. Curzon cinemas all differ and know their individual audiences. Each cinema has its own identity and is designed with respect to the heritage of the local area. Curzon's Artificial Eye is its distribution arm, ensuring cinematic release for the films that it distributes.
Its Curzon ‘Home’ Cinema digital channels in front of 6 million customers Curzon is well placed to take advantage of the rapid advances in technology, such as its innovation of releasing  its own (and others’) films on the same date both in Curzon ‘Public’ cinemas and on Curzon ‘Home’ cinema digital platforms.

IMAX, 3D

The impact of films such as Avatar (2009) drove the ‘new’ 3D and there are now 20 IMAX screens across the UK. It provides immersive experiences because of the steeply raked seats and vast screens. What have you chosen to see in 3D or IMAX?

POP-UP CINEMA, OPEN AIR CINEMA, SING-ALONGA EVENTS  


Friday, 10 November 2017

THE FILM INDUSTRY: MARKETING STAR WARS ROGUE ONE



Getting to know our case studies:

 

  • Our case study is Disney one of The Big Six.
  • Disney is a good example of the 'megafranchize' model.
  • The Big Six Hollywood studios chase mass mainstream audiences often with formulaic films that Linden Dalecki (2008) calls 'the 4S megafranchise model' synergy, story, spectacle, sequalization: Hollywood is renowned for producing blockbusters with strong narratives, often part of a sequel, usually with larger than life characters, using exciting, complex sets often in exotic or extravagant locations. 
  • Disney operates the horizontal distribution model.
    Distributors target audiences via an interconnected web of companies which all promote the film as a package of products. This is synergy (Give as many details as possible from  Rogue One: A Star Wars Story
  • and our Case study Avengers and perhaps from Disney's Frozen).
  • Cinema audiences engage with characters and stories (generally more so, today, than ‘stars’), so properties, especially those with the potential to develop as franchises, are all-important. Most of 2016's top releases were part of pre-existing franchises or familiar media properties. 

     
  • The Film Distributors' Association 2017 handbook lists Rogue One: A Star Wars Story (2016) as the no. 1 box office success of 2016. Learn the facts about its successful production and distribution.
  • Did you see the film? Identify why you would choose to see the film at the cinema (not online). 



TV DRAMA ANALYSIS


You work under timed conditions to analyse the first 5 minutes of the US TV drama Breaking Bad.
You complete the task at home (timing yourself) and email me the work by Friday 10 November.

Monday, 6 November 2017

TV DRAMA ANALYSIS

We work together to analyse the first 5 minutes of the US TV drama House.
 

Friday, 13 October 2017

HALF TERM WORK: DISTRIBUTION

Over half term, you will work on part of your answer to question 2 of your 'creative critical reflection': How would your project be distributed as a real media text?

Our approach:
  • explain what distributors do, giving the sources of our knowledge and expert witnesses
  • screenshots and links from the FDA (Film Distributors' Association), as evidence that we have studied The Role of the Distributor on the FDA microsite www.launching films.com
  • you enrol now on the Open University MOOC course The Business of Film and you do week 3. It is available from 16 October but please enrol now.
  • We went through the sessions, lectures and charts briefly in class. You know that you have to listen, learn, make notes, take screenshots and note the names of the professionals who present to you.
  • Post it all on the class blog on your home page.
  • By Monday after halt term, please.
 

Tuesday, 10 October 2017

SLIDESHARE

How to embed SlideShare: 
  • Open your presentation 
  • Click Share (bottom left)
  • Embed: copy link into HTML on your blog

Friday, 6 October 2017

EDITING

Untitled Infographic: Untitled Infographic | Piktochart Visual Editor

We have to analyse editing in our exam and we will have to edit our own work, as well as being able to comment on why we made certain editing decisions.

We watch a presentation from the OCR Media Conference 2014 weebly which you can see here.


In class we go over aspects of editing, such as match cuts, montages, the effect of sound, eyeline matches and motivated edits. We learn from Bordwell & Thompson about editing to create meaning.