Crossing Boundaries - BFI - British Film Institute

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The Study is intended to support the conceptual and strategic development of the venues, prompting a dedicated response to the challenges and opportunities that lie ahead. The Study is also designed to inform key strategic partners of the value range of the venues and how, with appropriate support and investment, the venues can effectively provide such value. Introduction 16 tom fleming / creative consultancy UK <strong>Film</strong> Council in association with Arts Council England and the Arts Humanities Research Council
Introduction 17 tom fleming / creative consultancy UK <strong>Film</strong> Council in association with Arts Council England and the Arts Humanities Research Council
Page 1 and 2: Crossing Boundaries The role of cro
Page 3 and 4: Sheffield Showroom
Page 5 and 6: 3. Broadening the Value Range and C
Page 7 and 8: Executive Summary This Study by Tom
Page 9 and 10: Creative Infrastructure The venues
Page 11 and 12: 3. Can the venues establish effecti
Page 13 and 14: 1. Introduction “London can stake
Page 15: This Study sets out an overview of:
Page 19 and 20: 1.1.2 Creative Economy How the venu
Page 21 and 22: Cross-Art-Form and Media Venues - A
Page 23 and 24: Currently, as will be shown, the ve
Page 25 and 26: video rental. While these figures m
Page 27 and 28: 1.2.2 Convergence: Life in the Age
Page 29 and 30: elationships with audiences on to a
Page 31 and 32: 1.4 Cultural Intermediaries Current
Page 33 and 34: This signals a clear set of opportu
Page 35 and 36: Liverpool FACT Introduction 35 tom
Page 37 and 38: Cornerhouse, Manchester www.cornerh
Page 39 and 40: Tyneside Cinema, Newcastle-upon-Tyn
Page 41 and 42: 2.1 Creative Place-Making “There
Page 43 and 44: The reason this pressure seems part
Page 45 and 46: Moreover, the extent to which simil
Page 47 and 48: expansion of their digital footprin
Page 49 and 50: innovator’ 16 a statement that on
Page 51 and 52: of relationship and new ways of own
Page 53 and 54: Public Value, Cinema and Culture Pu
Page 55 and 56: “(T)he increasing importance of c
Page 57 and 58: and India. The project in the UK sa
Page 59 and 60: 2.2.2 Business Support and Mentorin
Page 61 and 62: partners in exploring whether the c
Page 63 and 64: economy. Collaboration is not achie
Page 65 and 66: project in 2007. This is a web- and
Page 67 and 68:
2.2.4 Showcasing and Engaging: Supp
Page 69 and 70:
image. This process attracted a dif
Page 71 and 72:
social space that exists to serve t
Page 73 and 74:
presentation of specialised film ar
Page 75 and 76:
More research is required to explor
Page 77 and 78:
The six venues have extensive progr
Page 79 and 80:
Figure 3.Public Policy Map for Cros
Page 81 and 82:
3. Broadening the Value Range and C
Page 83 and 84:
- As reflectors of changes in lifes
Page 85 and 86:
edevelopment and redesign of Broadw
Page 87 and 88:
Tyneside Cinema pre-redevelopment B
Page 89 and 90:
There are three critical questions
Page 91 and 92:
- The extent to which the end user
Page 93 and 94:
- The venues currently lack the req
Page 95 and 96:
Manchester Cornerhouse Fit-for-Purp
Page 97 and 98:
2. Manchester & Liverpool: Cornerho
Page 99 and 100:
5. Sheffield: Showroom Ian Wild - D
Page 101 and 102:
Appendix 2 - Venue Structure All si
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Crossing Boundaries - BFI - British Film Institute

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