Crossing Boundaries - BFI - British Film Institute

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policy and strategy development utilising new technology. There will be opportunities for collaborative innovation with the most progressive organisations supported to act as specialist intermediaries 7 . 7 For more on this see NESTA, Connect, Collaborate and Innovate, June 2007 Policy Briefing. Introduction 26 tom fleming / creative consultancy UK <strong>Film</strong> Council in association with Arts Council England and the Arts Humanities Research Council
1.2.2 Convergence: Life in the Age of Generation YouTube “The successful application of rich multimedia products and integrated services that previously did not exist, or were provided separately, from organisations across the technology, media and telecoms sectors” 8 A critical challenge facing all cross-art-form venues is how they adapt and respond to an increasingly convergent world where the old silos separating previously distinct art forms, media, technologies and consumer experiences have either disappeared or are rapidly changing. In terms of digital media, there are two chief drivers of this change: the rapid uptake of two way high-speed broadband and the continual evolution and improvement in ICTs (Information Communication Technologies) such as mobile phones, games consoles, handheld personal computers, and so on. The shift that has occurred most starkly in music, where traditional platforms such as stereos have been rendered close to obsolete by downloading and the use of MP3s and other portable devices. However, as yet, parallel processes are not gathering with such rapid force in the consumption and production habits of other aspects of digital media. This is changing fast. For example, the rapid rise of digital television platforms (such as Freeview) which are now the dominant platform for viewing and the knock on effect on the viewing patterns of the old, traditional analogue channels (such as BBC1 and ITV1), is but one example of the way that digitalisation is having a decisive effect on the consumption and production of media. However, from the perspective of the venues explored in this Study, there is a far more profound change occurring in the way that consumers interact with media which is having and will have an effect on their patterns of programming, role in the community, business model, even the skills and operational systems they need in place. This is the ongoing shift in the way that audiences consume media, moving away from passive consumption to active participation and control. What this shift means in practice is summed up well by Anthony Lilley in Ofcom’s 2007 discussion paper on Public Service Content: “(w)hilst traditional media technologies primarily concentrate on the distribution of ideas, the interactive media technologies are concerned with handing active control and the ability to communicate to citizens” 9 . 8 Deloitte, “Convergence is dead, long live convergence”. 9 Ofcom, A new approach to public service content in the digital media age”, Jan 2007. Introduction 27 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 and 16: This Study sets out an overview of:
Page 17 and 18: Introduction 17 tom fleming / creat
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: video rental. While these figures m
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
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Page 41 and 42: 2.1 Creative Place-Making “There
Page 43 and 44: The reason this pressure seems part
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Page 53 and 54: Public Value, Cinema and Culture Pu
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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
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The six venues have extensive progr
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Figure 3.Public Policy Map for Cros
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3. Broadening the Value Range and C
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- As reflectors of changes in lifes
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edevelopment and redesign of Broadw
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Tyneside Cinema pre-redevelopment B
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There are three critical questions
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- The extent to which the end user
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- The venues currently lack the req
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Manchester Cornerhouse Fit-for-Purp
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2. Manchester & Liverpool: Cornerho
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5. Sheffield: Showroom Ian Wild - D
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Appendix 2 - Venue Structure All si
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