1) Write a one-sentence definition of what makes a film British.
A British film is a film containing British culture.
2) What is the difference between a Hollywood production context and production context of a British film?
Hollywood production context means that most films made by Hollywood studio have high budgets, a heavy reliance on celebrities both in the cast and crew and spectacle driven stories. The British film production context does not have as many clearly defined characteristics. British film production context are that films made within the British production context will in some way reflect British culture, films such as The
King’s Speech (Momentum Pictures, 2010) and Son of Rambow (Optimum Releasing, 2007) have varying degrees of involvement from Hollywood or other outside agencies however they are both inherently British in their subject matter.
King’s Speech (Momentum Pictures, 2010) and Son of Rambow (Optimum Releasing, 2007) have varying degrees of involvement from Hollywood or other outside agencies however they are both inherently British in their subject matter.
3) When did the James Bond franchise start?
The James Bond franchise started in 1963.
4) In terms of film censorship and graphic content, what began to change in British film in the 1970s and 1980s?
The 1970s sees a rise in British Films of sexual content, both the act of sex and sex linked to violence with films like A Clockwork Orange (Warner Bros, 1971) coming under a lot of scrutiny. The 1980s see the rise of
videos and the ‘video nasty’s scare where filmmaking was becoming more accessible and more extreme content was being created and finding its way to Britain.
5) What groups are often represented in British film? Give examples of films these groups feature in.
films portray young people, especially in the British Horror Film. For example if we look at the way youth is portrayed in a very singular way in Stanley Kubrick’s A Clockwork Orange (Warner Bros., 1971), the focus
is on violence, anti-establishment and a compulsion to act in an anarchic way.
6) What does the Factsheet suggest might be the audience appeal of British film?
A British film will need to have strong culture identity so the audience can clearly identify that the film is a British one. Also, the main characteristics that can be identified as appealing to a native British audience would include; the actors, British actors tend to be clearly identifiable as British and will often be associated
with a particular genre of British film.
Find Media Factsheet #100 on the British film industry. Save it to USB or email it to yourself so you have access to the Factsheet for homework. Read the whole of the Factsheet and answer the following questions:
1) What is the 'cultural test' to see if a film counts as British?
If a film does not qualify as a co-production, it must pass the British Film Institute’s Cultural Test in order to be defined as British. The Cultural Test is divided into four sections and a film must score at least 16 out of a possible 31 points to be classified as British.
2) Complete the task on the Factsheet, researching the films listed and finding out what they score on the cultural test: Sweeney, Attack The Block, The King's Speech, We Need To Talk About Kevin and Skyfall.
Cultural test score
Attack the block: 30
The Sweeney: 27
Kings Speech: 26
We need to talk about Kevin: 14
Skyfall: 15
3) What is the main problem for the British film industry?
Historically, the British film industry has been production led rather than distribution led. This means that many UK films are made but, in order to get the film exhibited, the filmmakers have to sacrifice the distribution rights by selling the film to a distribution company. Once sold, all revenue from cinema screenings, DVD and Blu-ray sales, plus sales to television companies, are lost. Even a highly successful British film is not necessarily making money that will be reinvested in British film-making.
4) What are three of the strengths of the British film industry?
• outstanding creative skills of practitioners
Directors like Richard Curtis have made films, such as Love
Actually (2003), which have grossed billions of dollars worldwide
and intellectual property, such as J. K Rowling’s Harry Potter
books, have also enabled British film production companies to
be involved in the production of financially successful franchises.
• outstanding facilities
British studios, camera companies and digital post-production
houses all attract investment from filmmakers around the world,
especially the USA.
5) What are the two options for the future of the British film industry?
Firstly, British filmmakers could choose to rely upon co-productions with American studios to keep the industry afloat. However, the drawback would be that much of what makes the film British may be lost, such as regional accents and dialects or cultural and political references. Since these features would make no sense to an audience outside of Britain, it is unlikely that an American company involved in a co-production would approve of them.
The UK film industry’s second option is to attempt to make low budget films targeted at a niche, British audience. Though the production costs will have to be lower and box-office taking and profits will necessarily be lower too, the filmmakers will be able to retain what it is that makes British films so distinctive without compromise.
6) In your opinion, which of these two options would best safeguard the future of the British film industry?
with a particular genre of British film.
Find Media Factsheet #100 on the British film industry. Save it to USB or email it to yourself so you have access to the Factsheet for homework. Read the whole of the Factsheet and answer the following questions:
1) What is the 'cultural test' to see if a film counts as British?
If a film does not qualify as a co-production, it must pass the British Film Institute’s Cultural Test in order to be defined as British. The Cultural Test is divided into four sections and a film must score at least 16 out of a possible 31 points to be classified as British.
2) Complete the task on the Factsheet, researching the films listed and finding out what they score on the cultural test: Sweeney, Attack The Block, The King's Speech, We Need To Talk About Kevin and Skyfall.
Cultural test score
Attack the block: 30
The Sweeney: 27
Kings Speech: 26
We need to talk about Kevin: 14
Skyfall: 15
3) What is the main problem for the British film industry?
Historically, the British film industry has been production led rather than distribution led. This means that many UK films are made but, in order to get the film exhibited, the filmmakers have to sacrifice the distribution rights by selling the film to a distribution company. Once sold, all revenue from cinema screenings, DVD and Blu-ray sales, plus sales to television companies, are lost. Even a highly successful British film is not necessarily making money that will be reinvested in British film-making.
4) What are three of the strengths of the British film industry?
• outstanding creative skills of practitioners
Directors like Richard Curtis have made films, such as Love
Actually (2003), which have grossed billions of dollars worldwide
and intellectual property, such as J. K Rowling’s Harry Potter
books, have also enabled British film production companies to
be involved in the production of financially successful franchises.
• outstanding facilities
British studios, camera companies and digital post-production
houses all attract investment from filmmakers around the world,
especially the USA.
5) What are the two options for the future of the British film industry?
Firstly, British filmmakers could choose to rely upon co-productions with American studios to keep the industry afloat. However, the drawback would be that much of what makes the film British may be lost, such as regional accents and dialects or cultural and political references. Since these features would make no sense to an audience outside of Britain, it is unlikely that an American company involved in a co-production would approve of them.
The UK film industry’s second option is to attempt to make low budget films targeted at a niche, British audience. Though the production costs will have to be lower and box-office taking and profits will necessarily be lower too, the filmmakers will be able to retain what it is that makes British films so distinctive without compromise.
6) In your opinion, which of these two options would best safeguard the future of the British film industry?
Making low-budget films may be the most effective options as they can easily keep the British culture as well as having a compelling story-line to follow.
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