The British Film Industry
Factsheet #132: British Film
Use our brilliant Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) to find Media Factsheet #132 on British Film. You can find it online here - you'll need to log in using your Greenford Google login. Read the whole of Factsheet and answer the following questions:
1) Write a one-sentence definition of what makes a film British.
A British film is a film that reflects British culture in some way, often made by a British director or studio that funds the film within Britain and usually featuring British actors.
2) What is the difference between a Hollywood production context and production context of a British film?
3) When did the James Bond franchise start?
In the 1960s.
4) In terms of film censorship and graphic content, what began to change in British film in the 1970s and 1980s?
5) What groups are often represented in British film? Give examples of films these groups feature in.
Young people are represented in British films, often using negative stereotypes and linking them to law breaking and violence, for example in A Clockwork Orange and Eden Lake.
6) What does the Factsheet suggest might be the audience appeal of British film?
1) Write a one-sentence definition of what makes a film British.
A British film is a film that reflects British culture in some way, often made by a British director or studio that funds the film within Britain and usually featuring British actors.
2) What is the difference between a Hollywood production context and production context of a British film?
Films made within the British production context often reflect British culture in some way.
In the 1960s.
4) In terms of film censorship and graphic content, what began to change in British film in the 1970s and 1980s?
The British film industry in the 1970s was dominated by the subject of censorship that continued into the video nasties banning of the 1980s.
5) What groups are often represented in British film? Give examples of films these groups feature in.
Young people are represented in British films, often using negative stereotypes and linking them to law breaking and violence, for example in A Clockwork Orange and Eden Lake.
6) What does the Factsheet suggest might be the audience appeal of British film?
The main appeal of a British film to a British audience is the social theme that provides the through line for many British film narratives. The British audience has a keen interest in British films that
focus on class.
Factsheet #100: British film industry
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 has 4 sections for Cultural Context, Cultural Contribution, Cultural Hubs and Cultural Practitioners.
2) Complete the task on the Factsheet - choose three of the films listed and research them to work out what they score on the cultural test: The Sweeney (2012), Attack The Block, The King's Speech, We Need To Talk About Kevin and Skyfall.
2) Complete the task on the Factsheet - choose three of the films listed and research them to work out what they score on the cultural test: The Sweeney (2012), Attack The Block, The King's Speech, We Need To Talk About Kevin and Skyfall.
The Sweeney (2012)
Financing: This film was produced and financed by Vertigo Films and Embargo Films.
Cultural Test: This film scores 23 on the Cultural Test.
Attack The Block (2011)
Financing: This film was produced and financed by StudioCanal, Film4, UK Film Council and Big Talk Pictures.
Cultural Test: This film scores 27 on the Cultural Test.
The King's Speech (2012)
Financing: This film was produced and financed by UK Film Council, See-Saw Films, Bedlam, Momentum Pictures, Aegis Film Fund, Molinare, FilmNation Entertainment and the Weinstein Company.
Cultural Test: This film scores 27 on the Cultural Test.
We Need To Talk About Kevin (2011)
Financing: This film was produced and financed by Footprint Investments, Piccadilly Pictures, LypSync Productions, Artina Films and Rockinghorse Films.
Cultural Test: This film scores 10 on the Cultural Test.
Skyfall (2012)
Financing: This film was produced and financed by Eon Productions, B23, Metro-Goldwyn-Mayer Pictures and Columbia Pictures.
Cultural Test: This film scores 23 on the Cultural Test.
3) What is the main problem for the British film industry?
The British film industry has been production led rather than distribution led, meaning UK films are made but to get the film exhibited, the filmmakers have to sacrifice the distribution rights by selling the film to a distribution company. All revenue from cinema screenings, DVD and Blu-ray sales, plus sales to television companies are lost.
American actors are seen as more glamorous than their UK counterparts so a big, Hollywood name is often drafted into the lead role of a film in order to encourage the audience to see it.
Typically in the UK, theatre acting is seen to be of greater worth than film acting so film has never been seen as a worthy artform.
Despite Britain having many talented production personnel, the lure of better pay and conditions in Hollywood is often too great for them to remain in Britain. Britain shares a native language with America so it is very easy for American films to be exported to the UK.
Outstanding creative skills of practitioners as 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?
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. Careful sale of distribution rights could also mean that profits are channelled back into the UK film industry.
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. Careful sale of distribution rights could also mean that profits are channelled back into the UK film industry.
6) In your opinion, which of these two options would best safeguard the future of the British film industry?
Choosing to rely upon co-productions with American studios is in my opinion the most viable option to keeping the British film industry alive. While there is currently a trend of these co-productions preventing British filmmakers from keeping the authenticity of their films intact, I believe there is room for American audiences to develop an interest in stories and characters based in the reality of British culture and experiences, which has grown in recent years and will continue to do so.
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