Crossing Boundaries - BFI - British Film Institute

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Foreword The six cross-art-form and media venues discussed in this report have had an extraordinary impact on the cities where they are located. They have been catalysts for change, cultural laboratories that have developed new ways of presenting work and supporting emerging talent. They have been models of innovative knowledge transfer, taking research beyond the walls of the academy and allowing it to flourish, creating new sorts of partnership between artist and audience. They have been amongst the unsung pioneers of culture-led regeneration, providing a bridge between the arts and the creative industries. The challenge for us, and for them, is now to realise the full potential of digital technology in overcoming physical and conceptual barriers and so pioneer the evolution of a truly national network of new practice in arts and culture. This study is an important step on that journey. John Woodward, Chief Executive Officer, UK Film Council Professor Philip Esler, Chief Executive Officer, Arts and Humanities Research Council Alan Davey, Chief Executive Officer, Arts Council England Foreword…………………..………………….. 6 tom fleming / creative consultancy UK Film Council in association with Arts Council England and the Arts and Humanities Research Council
Executive Summary This Study by Tom Fleming Creative Consultancy - Crossing Boundaries: The role of cross-art-form and media venues in the age of 'clicks' not 'bricks' - was commissioned jointly in 2007 by the UK Film Council, Arts Council England and the Arts and Humanities Research Council (AHRC). The Study focuses on six venues – Broadway (Nottingham), Showroom (Sheffield), Cornerhouse (Manchester), FACT (Liverpool), Tyneside (Newcastle) and Watershed (Bristol) – with a view to decoding their institutional DNA and strategic offer, so that their role and purpose can be better understood and communicated. In particular, the Study explores the role of the venues, as ‘cultural intermediaries’ and places of knowledge exchange and transfer within their cities and regions, how that role is evolving through digitalisation, and what the potential future role of the venues could be. These venues represent an emerging type of cultural and creative infrastructure where consumption and production, art and economy, innovation and creativity come together. The Study has been commissioned to explore the ways the venues support those boundary-crossing processes that are so important to a competitive creative economy. The Study takes three main thematic areas to examine the venues’ current activity and future potential: Creative Placemaking, Creative Economy and Creative Infrastructure. Within these thematic areas, the Study looks at the venues’ ‘physical footprint’ – the management and delivery of on-site programming and facilities – and their ‘digital footprint’ – their use of digital technology on-and off-site which extends their activity far beyond the confines of their four walls. It also introduces the concept of the ‘value range’ to describe the extent and reach of the venues’ social, economic and cultural impact. The Study shows that, though in need of reform, the venues are critically important cultural intermediaries for the creative economy. They are leading edge brokers, commissioners and collaborators. They have cinema at their hearts, but they work across the arts to deliver experiences and spaces where talent is mobilised, ideas are generated, and innovation is sparked. Much can be learned from these venues that is of critical value across the cultural infrastructure landscape of the UK at a time when issues of public value are paramount and notions of the ‘user’ or ‘audience’ are being realigned. Executive Summary 7 tom fleming / creative consultancy UK Film Council in association with Arts Council England and the Arts and Humanities Research Council
Page 1 and 2: Crossing Boundaries The role of cro
Page 3 and 4: Sheffield Showroom
Page 5: 3. Broadening the Value Range and C
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 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
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and India. The project in the UK sa
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2.2.2 Business Support and Mentorin
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partners in exploring whether the c
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economy. Collaboration is not achie
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project in 2007. This is a web- and
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2.2.4 Showcasing and Engaging: Supp
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image. This process attracted a dif
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social space that exists to serve t
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presentation of specialised film ar
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More research is required to explor
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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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Crossing Boundaries - BFI - British Film Institute

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