The British Film Industry

Who does what in the British Film Industry?

The BBFC:

The BBFC is an independent, non-governmental body which classifies and censors film, video as well as computer and console based games released in the UK.

The BFI:

The BFI (British Film Institution) Promotes understanding and appreciation of Britain's rich film and television heritage and culture

The UK film Council:

is the government backed lead agency for film in the UK ensuring that the economic, cultural and educational aspects of film are effectively represented at home and abroad.

The BAFTA:

The BAFTA (British Academy of Film and Television Arts) aims to support, develop and promote the art forms of the moving image.

The British council:

The official UK agency for international cultural relations. Its film department promotes new British films (features and shorts), internationally principally through festivals and showcases.

Main British Production Companies - recent films

Film 4:

• '12 Years a Slave' (2013)
• '20,000 days on Earth' (2014)
• 'A Most Wanted Man' (2014)
• 'Black Sea' (2014)
• 'Ex-Machina' (2015)

E One (Entertainment One):

• 'Divergent' (2014)
• 'The Theory of Everything' (2014)
• 'Nightcrawler' (2014)
• 'That Awkward Moment' (2014)
• 'The Age of Adaline' (2015)

Working title

• 'Everest' (2015)
• 'About Time' (2013)
• 'Rush' (2013)
• 'Legend' (2015)
• 'The Danish Girl' (2015)

Bigtalk Productions

• 'Man Up' (2015)
• 'Cuban Fury' (2014)
• 'In Fear' (2013)
• 'The World's End' (2013)
• 'Sightseers' (2012)

Pathe

• 'Lucy' (2014)
• 'Mandela: long walk to Freedom' (2013)
• 'Selma' (2014)
• 'Suffragette' (2015)
• 'Centurion' (2010)

Warpfilms:

• 'The last Panthers' (2015)
• 'This is England '90' (2015)
• '71' (2014)
• 'For Those in Peril' (2014)
• 'Southcliffe' (2013)

Who dominates the UK film Industry?

Although it is becoming ever easier to create and produce feature films due to the new advances in technology, a lot of a movie's popularity and accessibility will depend on who the film is produced by. If a movie is made by a large, well-known company such as 20'th Century Fox or Universal Pictures, it is more likely to be seen and circulated than that of a company which nobody has heard of. Statistics show that in 2013 in the UK and Ireland alone, Warner Bros, Walt Disney and Universal had the highest grossing numbers in the sale of cinema/box office tickets. Warner Bro's gained 200 million dollars, closely followed by Walt Disney at an estimated 170 million and Universal with 150 million. In conclusion, Hollywood's big six mainly dominate the UK film industry along with some smaller production companies such as Sony Pictures, Lionsgate and StudioCanal.

British 'Cultural test' - British VS American films

Any film can be put through this 'culture test'. It must score at least 18 out of 35 to be classed as a British film and can claim 25% tax relief from the government:

'Avengers: Age of Ultron' - 15/35

•  A1 - the film set was in the UK, South Africa, South Korea, Bangladesh and Italy
• A4 - the film was written and recorded in English
• C1 (A,B) - many of the filming locations are situated in the UK
• D7 - Ben Davis, the cinematographer, is a member of the British society of Cinematographers

'Ex-Machina' - 14/35

• A2 - Domhnall Gleeson is an Irish/British citizen
• A4 - the film was written and recorded in English
• D1/2 - Director, Alex Garland, was born in London, UK
• D3 - Producer, Andrew Macdonald, was born in Glasgow, Scotland
• D4 - Geoff Barrow, one of the Composers was born in North-Somerset, England

'Star Wars the Force Awakens' - 10/35

• A1 - A lot of the filming locations are in the UK
• A4 - the film was written and recorded in English

'Mad Max: Fury Road' - 10/35

• A2 - Tom Hardy is an English actor and resident
• A4 - the film was written and recorded in English

'Old' Rules required for a film to be British 

• The Director must be British 
• The Producer must be British
• It must have a predominantly British cast
• A British production company 
• Subject matter that informs on the British Experience 
• British identity defined by the BFI in "Sight and Sound"

How do British films attract audiences? How are they distinct from Hollywood movies?

I feel that British films attract an audience by adhering to the British stereotype, e.g: having a man who speaks in a proper British accent in a neat suit and nice manners whose witty and has a way about him. Typical of that of a James Bond movie, Daniel Craig has set a standard that is expected of a British man by the rest of the world (especially America). In countries like America, they find the British stereotype amusing and enjoy portraying the British culture as being quite posh and sophisticated and therefore use the 'big six' in Hollywood to portray British people in this way. In contrast, British film producers might show the other side of the British culture, e.g. the more lower class, 'chavvy' generation of Brits. However they might still include the witty British gentlemen as the image is attractive all over the world and the British are especially proud to be stereotyped in this way. An example of a film that includes both representations and was very successful in attracting an audience is 'Kingsman: The Secret Service' as it includes a young, yobbish boy who is taken under the wing of a typical British gent played by Colin Firth - renowned for his gentlemen like qualities and characteristics of a stereotypical British man. 

Audience Types

Mainstream: Unlikely ever to view anything other than major 'Hollywood' style blockbusters.

Mainstream plus: generally mainstream, but apt to see less mainstream films on few occasions.

Aficionados: Tend to view a mix of films, including major foreign language titles, and can be encouraged to become even more adventurous in their viewing choices.

Film Buffs 1: Eschew mainstream films in favour of more extreme, esoteric, challenging and difficult subject matter (specialized) films.

I think that films such as 'Kingsman: The Secret Service' would have attracted mainstream plus audiences all over the world, especially in America. On its opening weekend in the USA, this film brought $42,000,000 into the box office and £4,152,128 into the UK box office. This is because of the attraction of the British culture and the love of the typical British spy story with a sharply dressed gent inspired by James Bond - a greatly loved character all over the world

Why have a British film industry?

I believe that having a British film industry is very important in out culture as we're a very small country in comparison to America where they have production companies such as the 'big six' and attractions like Hollywood. We feel the need to make other cultures know who we are and a British stereotype is very well known worldwide and is very well received. I think that we are proud to show off our culture to the rest of the world and make sure that we are seen how we want to be seen by the rest of the world. I don't think the British film industry is there to simply make money, its there to make sure the culture we want to show survives and gives off a positive view of the British culture. In a way, it is there to promote the British culture, but not in a snobbish fashion. Rather a way to show that we can be what people want to see (including what our own nation wants to see).

Representation of age in TV drama: age 50 - 60

Stereotypical ideas about people aged 50 - 60

• Stubborn
• Rude/offensive
• racist
• stuck in their ways 
• "Back in my day"
• refuse to believe the world has changed 
• think they're still young and can still mix with the younger generations
• constantly telling stories from their youth
• Think they know best 

Example - Sir Malcolm - 'Penny Dreadful'

In this clip, Sir Malcolm comes across as a very stern, stubborn man who believes that he knows best and he will always know best even though Vanessa is an adult who is also experienced in certain areas. The way he speaks to her is very abrupt and sharp, almost as though he is treating her as a child, therefore belittling her and being openly rude and offensive, which is stereotypical of people of his age group. The way he stands facing away from her in a very upright position shows that he feels that he is of a higher position than her simply because he is older. This is contrasted by Vanessa as she is sat down and away from him in a more comfortable position showing that her generation, which is younger, doesn't feel the need to look 'proper' all the time the way someone of an older generation would. The use of a low camera angle when he is speaking shows that he is physically bigger which communicates that he is like a father figure to her as he believes he is wiser and doesn't even look at her when he is talking to her, the same way a father would do to a child. Even in the end of the clip where he realizes that he is wrong and Vanessa actually does know what she's talking about, he doesn't apologize or acknowledge he is beaten, but continues to speak to her in a stubborn, harsh manner and claims that they're in it together. This is stereotypical of elderly people (men in particular) as they do not like to admit they're wrong to those who are younger than themselves.

Representations of Sexuality in TV drama

Heterosexuality - Damon and Elena - 'The Vampire Diaries'

Heterosexuality is represented in this clip through a very happy, positive relationship, shown through the use of camera angles, editing techniques, and sound. The camera shots are mostly close-ups to show emotion and facial expressions that are mainly produced by Damon. He is adhering to the idea of the stereotypical male within a heterosexual relationship by being assertive and confident in admitting his feelings to Elena, looking directly at her and being in close proxemics with her. This could suggest that he is the more dominant of the two, therefore the idea of a stereotypical heterosexual relationship is being adhered to, confirming it as the dominant ideology. Also, the use of mid-shots shows their body language towards each other. Damon looks like he is stood very firmly with both feet apart and his shoulders rolled back, communicating a sense of power and dominance when talking to her. Elena on the other hand looks more timid and flirtatious by looking down slightly and then back up at him as well as holding her hands together and lifting her shoulder slightly, emphasising her neck and shoulders while communicating that she is perhaps more submissive towards him. the shot/reverse shot technique is used mainly to show how Elena is reacting to what Damon is saying, showing her as the stereotypical woman in the relationship whose job is to listen to the man. The use of Damon's speech over the top of the clip shows that he is dominant over their relationship as other clips are shown of them together but he is speaking for the both of them. Also, the use of slow, romantic music communicates how their relationship is happy and positive with little to no issues that can't be overcome by the power of love alone.

Homosexuality - Santana and Britney - 'Glee'

Homosexual relationships are represented in this clip as being difficult and restricted because of what everybody else feels is acceptable. For example, when Finn confronts Santana in the corridor, the low camera angle makes it look as though he is towering over her and making her feel small and powerless. This echoes the fact that she feels that she can't express her true feeling towards Britney in front of everyone else because of how she will be seen by the rest of society. This is representative of how society stereotypically feels towards homosexuality, e.g. hostile, confused, disrespectful. When Britney and Santana are together, the camera is on the same level (eye level) and the shot/reverse shot shows both of them equally. This represents that they only feel secure and equal when they're in each others company and confidence as opposed to when other people confront them about it. When Santana tells her own mother for example, she is told to leave the house and never return due to the fact that her mother has strong religious beliefs and won't accept her as a lesbian. A slightly lower camera shot is used when the camera is behind Santana's shoulder to show how her mother is belittling her and Santana remains powerless. It is only when Britney and Santana are together that they are shown to be on the same level.

Bisexuality - Barbara and Renee/Barbara and Jim - 'Gotham'

Bisexuality is shown in this show as being a source of conflict as Barbara cant seem to choose whether she wants to be with Jim or Renee. This represents bisexuality as being quite destructive and difficult both for those who are bisexual and for those who are involved with someone who is bisexual. For example, when Barbara is with Jim in the first clip, the lighting is dim and romantic. There's a crackling fire and a nice apartment where Jim comes home from work to his 'trophy' of a girlfriend who takes up the stereotypical role of the comforting, listening type. After Jim decides he doesn't want to go out, she simply accepts it and moves on to make sure he's comfortable and talks to him about his day to try and allow him to relax. She seems happy here. However, in the second clip when she is with Renee, she looks conflicted as though she still wants Jim but she chooses to be with Renee. Again, the warm lighting and the crackling fire in the background shows the comfort and safety she feels when she is with Renee whereas the apartment where Jim is shown making the call to her is dark and cold. This could represent the fact that Barbara feels conflicted as a bisexual as she doesn't want to hurt either Jim or Renee but she knows that she can only bring light and comfort to one of them. However, in the first clip, the high camera angle shows her as being the more submissive of the two which is stereotypical of a heterosexual relationship whereas in the second clip, a mid shot is used to show her and Renee on the same level as  they are both women.

'Mad Max: Fury Road' - 7 areas of media ownership

Mad Max. Fury Road - 7 Areas

How is disablilty represented through the character of Donna in Eastenders?

Representation of disability - Donna

Donna portrays herself as being quite defensive and bitter towards the rest of the world, which could be seen as stereotypical of someone who is disabled. She does this by putting on a front and immediately shutting down/turning away anyone who tries to talk to her. By doing this she is showing that as a disabled person she is accepting and expecting everyone to see and treat her a certain way. E.g. she believes that everyone else will see her as a disabled before anything else. She is surprised when Fats makes her breakfast in bed after their one night stand and she claims that she 'isn't a lady' when Fats explains that he wants to treat a lady properly. A mid shot is used during this scene to imply that they are equals within the relationship. This is supported by the fact that when Fats comes in, he sits on the bed, therefore he is lowering himself (physically) so that they are on the same level. This helps to support the dominant ideology of able bodied people trying to make a conscious effort to try and make sure that disabled people feel equal.

Donna thinks nothing of what happened between them as though she doesn't feel like she is worthy of having a real relationship, without any awkwardness. However, everyone else wants her to have a real relationship and is very supportive of her as a disabled person. For example her friend Pam treats her like a child when they're talking about her one night stand and begins to tease her and treat her as though she were a small child who thinks they're in love. A mid shot is used in this scene to show to height difference between the two characters. The camera is also placed behind Donna at a slight distance as though the audience are viewing the conversation from across the square. The audience then sees how patronising Pam is being towards her by standing slightly over her and treating her as though she were a child. It is then emphasised as the camera gets closer and we see Pam from an over the shoulder/low angle shot. This could be representative of the fact that Donna is the talk of the square because a disabled person is stereotypically not expected to be sexually active.

When Fats goes over to Donna's house for a supposed date, she falls over and he runs in to help her up. The high camera angle means that we are looking down on her as well as Fats, making her seem more vulnerable and needy which is stereotypical of a disabled person. However, she shows power and control when she brings him down to her level to help her up where a midshot is used to show how she wants them to be equals. Never the less, she falls again and we then go back to seeing her from a high angle shot, therefore we are looking down on her. This could be representative of how disabled people feel (stereotypically) that are lower/limited in terms of living life the way other people do. The use of the midshot and the digetic sound of the radio playing upbeat music suggests that she is trying to create a warm, loving atmosphere for their 'date'. She also makes an effort to wear a nice dress and do her makeup, only to be ruined by Fats not being able to overlook the fact that she is disabled.

Peer Assessment:

good understanding of the question and excellent detail of representation however more explanation of terminology is needed and how it links to each other.

Areas of Representation: Vikings

Representation in TV Drama - Vikings

Editing techniques: Penny Dreadful

Penny Dreadful

CLIP

Editing Techniques and their effects:

Cross Cutting/Parallel editing

This editing technique is used mainly in the beginning of the clip where it shows the two characters, Ethan and Vanessa, in two separate locations at the same time, (Ethan is held captive on a boat taking him back to America whereas Vanessa is left in London, alone). This shows the audience how the characters are still emotionally connected even though they are physically apart. The use of the non-digetic spoken letter from Ethan to Vanessa along with the sad music emphasises the loss of their relationship through the loss of each other. This effect is supported by this editing technique as it shows the characters have been physically parted, though they are still emotionally connected at the same time, making the audience feel sympathetic towards them, echoing the words that are being spoken along with the sad tone of the music.

Continuity Editing

The chronological presentation of the narrative is used throughout the entire clip (showing Vanessa's perspective) as the series of events that are taking place are chronological and are there to represent the passing of time/the character moving on. Action matching is incorporated into the continuity sequences to give the impression of time passing along smoothly. These cuts follow Vanessa through her house, turning off all of the lights and leaving the dark rooms behind her, this shows her leaving the past behind and accepting her new life alone. As an audience, we also feel as though we are moving on/being left behind as the camera is left in the dark and Vanessa is shown to be walking away from the camera, involving the audience in her acceptance.

Cutaway

A cutaway shot is used at the beginning of the clip to briefly show where Ethan is before we are transported back to London to see the effect of his letter on Vanessa. I believe this is simply to give context to the scene so that we know they have been parted and he is in a worse place than she. This is effective as it shows Ethan is struggling just as much if not more than Vanessa, yet he is still trying to console and convince her that everything is going to be ok. This reinforces the heartbreak/desperation that the audience feel as we are temporarily given an omniscient viewpoint as we can see the situation that both of the characters are in whereas they don't know what's happening to the other.

Ellipsis

This could be seen in this clip as we aren't shown how Ethan came to be on the boat and the camera doesn't stay with Vanessa constantly. This is representative of the fact that both characters are distraught and otherwise disorientated due to their stress and sadness. By not constantly updating the audience on both characters whereabouts and emotional stability, we are also disorientated as an audience, creating an uneasy atmosphere.

Linear Narrative

The whole clip is linear in terms of how events are timed. We know this as Vanessa moves continuously and chronologically throughout the house, turning off each light as she goes. This helps the audience to understand what is going on by giving them checkpoints in her narrative to go by and piece together where she is going and what she is doing. It shows her final developments as a character as she goes from being paranoid and terrified to becoming cold, unfeeling and accepting of her fate/doom.