Crossing Boundaries - BFI - British Film Institute

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Lilley describes the change neatly as that of switch from ‘mass media’ to our ‘our media’, and it is one that we are only just beginning to explore the consequences of. This shift is sometimes referred to as the growth of “Generation YouTube”, as it is in spectacular rise of web 2.0 internet sites such as YouTube, MySpace, bebo and wikipedia, which effectively put the user in control - allowing him/her to post, edit, comment, create and share. And this is just the tip of the iceberg: new types of participatory experience, blurring on and off line are growing hugely in popularity and influence. Projects such as Stagework, Developed by the National Theatre, which allow users to go behind the scenes and explore the making of plays and drama; and in Liverpool, FACT’s Tenantspin, which has given birth to several hundred multi-media citizen produced programmes over the past few years; are just the start of a bigger shift in the way that digital media is produced and consumed. A further example is Watershed in Bristol, which received over 1.4 million visits to its website in 2005 - over three times the 400,000 visitors who came through its doors. A good many of these online visitors made use of Watershed’s dShed platform for artistic content, and played an active role in the development process for new projects. In addition, Cornerhouse in Manchester has led the way in terms of online distribution of publications and its Artradio project is a groundbreaking example of using convergent technology. FACT is continually pioneering new ways of reaching audiences, as is seen in the Video Jukebox work produced in collaboration with Sandpit/Lancaster University. Broadway in Nottingham houses a range of projects that explore new boundaries in digital media, brokered by the Arts Council England, East Midlands -supported Digital Broadway Programme. Tyneside Cinema commissioned and published its first open source films, the Light Surgeon’s Chimera Project, in 2001 and had them broadcast on regional BBC in 2003. For other cultural organisations and venues, the most positive response has been to embrace the challenge it throws up: The Royal Opera House purchase of Music and Dance DVD production company Opus Arte is one response for the need to move the Introduction 28 tom fleming / creative consultancy UK <strong>Film</strong> Council in association with Arts Council England and the Arts Humanities Research Council
elationships with audiences on to a different level. The ICA’s link up with Sony Playstation portable and the production of ten minute arts bulletin for its predominantly youthful users is another. For the venues, a set of interlinked opportunities and challenges are raised by both convergence and the potential offered by the putative PSP: opportunities to attract new and different sources of funding, and challenges in cementing their role in the cultural infrastructure of their cities and the creative economy of the UK. These include adopting a reinvigorated and redefined producer role; operating as leaders in converged media experiences; and providing a connecting role for public service providers. As will be shown, this requires a wholesale reappraisal of the current structure, approach and capacity of the venues, with reform for some a greater urgency than for others. 1.3 From Infrastructure for You to Infrastructure by You The new, emergent and future opportunities and challenges faced by the venues, plus long-held opportunities and challenges such as in audience development, require the venues to reposition themselves in the cultural and strategic landscape. Their physical and digital footprints represent an enormous asset base across multiple agendas. These have been developed over what have in some cases been long histories, often based on a mix of organic organisational development concerns and periodic ‘injections’ of investment and development support. The venues have evolved and to a greater or lesser degree adapted to their shifting strategic and cultural landscape. That they have survived and remained sustainable is testament to their success in delivering meaningful experiences and services to audiences and a wider set of stakeholders. This is underpinned by ongoing public sector support and investment. However, the venues today face their most significant set of challenges and opportunities to date. The extent to which they respond positively to both will determine their future success, even their existence. This demands a positive step change in the ways the venues are conceptualised, managed and supported. The venues need to fulsomely embrace the challenges and opportunities of change and do so with a focus very much planted on the digital footprint: Introduction 29 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 and 26: video rental. While these figures m
Page 27: 1.2.2 Convergence: Life in the Age
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
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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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Crossing Boundaries - BFI - British Film Institute

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