1

Which case studies are relevant for each?

 Media Ownership
Production
Distribution
Marketing
Cross-Media Convergence
Synergy
Exhibition/Exchange
Proliferation
Technological Convergence

Technologies merging e.g. iPhone, SmartTV

Increase in quantity & speed/ease of access to media content e.g. VoD

The Question
You have no choice of questions, so you have to have a go at what is there on the paper; sometimes
students panic and think that they don't understand the question- maybe because of one particular wordbut so long as you have prepared on all the concepts there will be something in the question that you
recognise. Words like 'technology', 'convergence', 'distribution', 'marketing', 'digital' come up and
you should see them as your 'hook' into the question. Even if the overall wording seems to be baffling,
look for the terms that are there in the question and see them as the springboard for your answer.
Intro
You only have 45 minutes to answer the question, so there isn't time to waffle! A quick sentence which sets
out what you are going to do and which media area or industry you are going to use will suffice. You can
prepare a lot of this in your head in advance, so something like: In this essay, I shall write about
(concept/question) in relation to the film industry, drawing on (examples X, Y & Z) as my case
studies.
Examples
Whichever industry you are writing about, you will need examples to support your points. I would always
advocate having some contrasting examples so that you can look at all angles; for example, you might
have a mainstream high budget film from the USA to contrast with a low budget independent Uk
film. That way, you can talk about the different ways in which the industry might operate in different
circumstances. You need not know absolutely everything about just two examples, however. It could
be that you know about the funding of a particular low budget film, but don't know about its
marketing; in which case find another example of something similar where you can find out about
its marketing. The important thing is to get a good grasp of the ways in which the concepts apply rather
than every tiny detail of a specific case study example. What you do need is to make sure you understand
the general principles well and can back up your points accurately.

To what extent does digital

distribution affect the marketing and
consumption of media products in
the media area you have studied?
(Jan '12)

What is digi dist

and why is it
done

Gravity (Avatar?)
Syn = X-Men/
Lego/Avengers

Dist = SG &
Gravity

The
effects on
industry

SG/AT/Grav/
Avengers/X

Your Opinion!

though most commonly HDD

UK Film Council championed the Digital

Screen Network in 2005 (Article in pack)

DIGITAL TECHNOLOGY AND DISTRIBUTION

What impact/changes has digital technology made
within FILM DISTRIBUTION?

Digital distribution is cheaper for distributors

Digital distribution is quicker
Simultaneous global releases of films to cut down piracy
Better quality
Cut down piracy and illegal copies
Provide more outlets for consumption
Digital 'prints' offer consistency in quality as opposed to
celluloid

EXHIBITION:
WHAT IS THE IMPACT OF DIGITAL TECHNOLOGY ON
FILM EXHIBITION?
KEY POINTS:
Better quality of picture
Operationally easier for cinemas and reduces staffing
More flexibility in what you can watch in the cinema/home
Films displayed exactly as director has intended
Disadvantages: expensive to change all of the cinemas to
digital technology.
Unique cinema experiences -DBOX, IMAX, 4DX, 3D films
(although better quality 3D TVs could make this less unique
in future)

Big Budget with lots of tech used & stars

=
Mass distribution, huge amounts of marketing and
various experienced-based exhibition practices

LOW BUDGET

MEDIUM
BUDGET

BIG BUDGET

Niche Audience
Limited Release
Wide Audience
UK Wide Release
US Medium Release

MASS AUDIENCE
WORLDWIDE
RELEASE

Exhibition
Experiencing this film in 2-D is only getting about 20 percent of the experience of
Gravity, says Cuarn.

The IMAX release of Gravity will be digitally re-mastered into the image and sound quality of
An IMAX 3D Experience with proprietary IMAX DMR (Digital Re-mastering) technology.
The crystal-clear images coupled with IMAX's customized theatre geometry and powerful
digital audio create a unique environment that will make audiences feel as if they are in the
movie.
It's also the first truly 3-D movie. Every other example of the form thus far, even Avatar, is really
an ordinary movie maximized by the use of technology. Even in the hands of a master like
Scorsese, in Hugo, the format has basically been a way of upping the entertainment value and,
perhaps more important, forcing people to actually go into theaters (and pay a premium when
they do). But while any of those films could have been made in 2-D without suffering any real
harm, Gravity is the first that could not. - Esquire

 The Film Industry loses around 500-700m

a year due to piracy
Cinemas alone lose 200m due to piracy
30% of the UK popula>on are ac>ve in some
sort of piracy
The money gained from pirate DVD sales
alone is approx 280m a year!

Usage of VOD in UK 2012-14

Posi.oning
Involves how and when the lm should be released.
Elements to be considered are the 1 >me of year, 2
other lm releases and the target audience.

Circula.on
How many copies of the lm should be circulated to
cinemas.
The distributor should decide whether the lm requires
a saturated/wide release? (700-1000 prints) or an art-
house/limited release? (around 20 prints)

Release
Timing is crucial. School holidays are a prime time
within the year for the release of blockbusters.
If the film is a potential award winner, then it will be
released during the traditional season of awards
competition: January to March.
Competition must also be considered.

"Cross-media convergence &

synergy are vital processes in the
successful marketing of media
products to audiences." To what
extent do you agree with this
statement in relation to your chosen
media area?

Conglomerate:
A company that own a range of
smaller companies in different
fields.
Vertical integration

a situation when two firms in the same industry but at

different stages of production come together.
For example a baker could buy a wheat farm or a
television studio may buy up a production company
which produces some of its television programmes.

This is also an example of crossmedia convergence as related

products are released across different
platforms by same company

Prod.
Dist.

Exhib.

Key Point: The company makes money

from every stage of the chain and
maximises its presence in the market

Horizontal integration

a situation when two firms in the same industry and at the same stage
of production come together. This could be through the two businesses
merging together or through one firm taking over another. For example
two chocolate companies or two estate agents may decide to join
together.

Key Point: A company acquires other

competing companies to expand and
eliminate competition

Cross-Media
Conergence
and Synergy
From Disney

Synergy with
WB/Lego

Synergy with
Netflix

The Lego
Ad-Break

What are the benefits from a marketing

strategy such as this?

What significance does the

continuing development of digital
technology have for media
institutions and audiences?

Audience:
Consumer = Producer
The Concept formerly known as AUDIENCE
This phrase is now commonly used by media professionals to describe the
ways in which people engage with media, and it shows how debatable the idea
of audience is in the digital era.
Technological convergence, user-created content and social networking
have transformed the audience from being more than just media consumers.
In this climate media institutions are desperately trying to provide360degree branding for their productsto surround us with them across all the
various converged media forms that we come into contact with.

Produc'on

Distribu'on

Exhibi'on

Evaluate the role of digital

technologies in the marketing and
consumption of products in the
media area you have studied.

Discuss the issues raised by media

ownership in the production and
exchange of media texts in your
chosen area.
(Jan '11)

Hollywood Big Six Domination

PRODUCTION

EXHIBITION: Home Cinema

(DVD, Blu-ray)
DISTRIBUTION

Soundtrack

Working Title - allowed freedom to make creative decisions but it is

owned by a US based conglomerate.
35mil

f $
o
t
e
g
d
u
b
a
Only up to

Eric Fellner says "Tim Bevan and I both take the decision on what to greenlight."

"The Working Title philosophy has always been to make films for an audience - by that I
mean play in a multiplex. We totally believe in this because we know it is the only hope we
have of sustaining the UK film industry."

The need for independent

low budget filmmakers to
seek funding outside the big
studios for production and
distribution
We invest over 26m of Lottery funds per year to support film development, production and
distribution activity in the UK and the budget is set to rise to 30m by 2017.
Our aim is to champion a breadth of bold and distinctive filmmaking across the UK; to nurture new
talent; and to back the development, production and distribution of films that will enrich UK film
culture and define the UK and its storytellers in the 21st century.
We welcome applications for film projects in all genres, and we are committed to promoting diversity
in the filmmakers we support, the stories they tell and the audiences they reach.
We also support independent UK distributors to help ensure that the best British and specialised films
connect with a wide range of audiences across a range of platforms. We support sales companies that
are launching new UK films at key international film festivals and markets.

The BFI Distribution Fund invests in increasing access to, and awareness of, high quality
British independent and specialised films in order to boost audience choice and to enrich film
culture UK-wide
We aim to do this in two key ways:
By supporting the distribution launch of films that have the potential to reach beyond their
core market.
By championing fresh approaches in distribution and marketing that will help films find new
audiences, both in cinemas and across additional platforms.
The Distribution Fund has an annual budget of 4 million.

Funding strands

There are four distribution funding strands, each specifically designed to address different types of
films, release strategies and the associated challenges and opportunities in the marketplace.
Big Audience awards - significant awards to support ambitious releases of new British films with
the potential to reach a wide UK audience.
Breakout awards - supporting increased audience reach for exemplary independent British and
specialised cinema.

New Models awards - to support experimental and ambitious release models, and creative
marketing strategies that seek to exploit new opportunities outside traditional theatrical and
marketing routes.
Sleeper awards - targeted at 'in-release' films that have achieved exceptional weekend box office
results, exceeding market expectations.

BFI Audience Fund

Our ambition is to provide a greater breadth of films and to increase choice for audiences
across the UK.
People throughout the UK love watching films. However, the choice of film available to audiences is
narrower than it should be. This is especially true outside of central London where on average only 7%
of screens are dedicated to specialised film.
Additionally, amid the growing complexity of the digital world, there is a danger that it will be
increasingly difficult for audiences to pick out and find the film they seek. In this environment, the
visibility and availability of British film in cinemas and online suffers and potential economic success is
not maximised.
The Film Policy Review rightly asserted that respecting and understanding the audience is the key to
making audiences grow. Our audience strategy recognises and addresses the increasing complexity
of multiple platforms and seeks to ensure audiences are both empowered and find a greater choice of
film whether online, in the home, in the cinema or on the move.

Funding for first-time directors

The Film Fund now selects features from first-time directors (and which are
budgeted under 2,000,000) at quarterly intervals.

Supporting new filmmakers is a priority for the Film Fund, and we receive a high volume of
applications, so we have found it beneficial to look at these applications at the same time. We believe
that a more structured approach allows us to provide successful applicants with the right level of
editorial collaboration and support in raising finance. Applications are welcomed at any time but will
be assessed after the relevant deadlines for submissions and according to a set process which will
include meetings with film-makers.

Film Export Fund

This fund is a springboard for British film exports, designed to help British films make sales abroad
when they're selected for important international festivals.
The fund can help sales agents with a film's publicity and marketing, as well as with the technical
and logistical costs of appearing at a high-profile festival.

Value of UK tax relief

For films with a total core expenditure of 20 million or less, the film production company can
claim payable cash rebate of up to 25% of UK qualifying film production expenditure;
For films with a core expenditure of more than 20 million, the film production company can
claim a payable cash rebate of up to 20% of UK qualifying film production expenditure;

Accessing UK tax relief

Tax relief is available for British qualifying films. Films must either pass the Cultural Test or
qualify as an official co-production;
Films must be intended for theatrical release;
Films, including those made under official co-production treaties, must reach a minimum
UK spend requirement of 25%;
Tax relief is available on qualifying UK production expenditure on the lower of either: 80% of total
core expenditure; or the actual UK core expenditure incurred.
There is no cap on the amount which can be claimed.
The FPC responsible for the film needs to be within the UK corporation tax net.

Produc'on

Distribu'on

Exhibi'on

 The Film Industry loses around 500-700m

a year due to piracy
Cinemas alone lose 200m due to piracy
30% of the UK popula>on are ac>ve in some
sort of piracy
The money gained from pirate DVD sales
alone is approx 280m a year!

Key Points for Discussion

How audiences are attracted and/or targeted

The ownership and operation of institutions
BFI Film Fund & Tax Credit
Working Title Template
Technological Convergence e.g. iPhone/
SmartTV
The impact of digital technologies on
industry - e.g. "Prosumer"/Piracy/Proliferation
Issues regarding the production of your
chosen case studies - e.g. finances/
technology/ownership
Issues regarding the distribution of your
chosen case studies - e.g. marketing
campaign/cross-media convergence/synergy/
technologies utilised in distribution
Issues regarding exhibition - e.g. digital
screens/IMAX/VoD/DVD/Blu-Ray/Piracy

To what extent is production,

marketing and distribution
important for an institution's
success in the British marketplace?

"Media production is dominated by

global institutions, which sell their
products and services to national
audiences." To what extent do you
agree with this statement?