Short Film Export Report - BFI

Limited visibility of
UK shorts
domestically
undermines
perceptions of their
value internationally
Make UK shorts
available to as wide
an audience as
possible
9. Encourage the
development of short
film outlets (old and new
media alike) with a
realistic business model
10. UKFC and short film
sector to lobby for
theatrical slots and a
stronger TV presence for
UK shorts, and support
the development of UK
short film channel/s
UKFC Distribution
and Exhibition
Department to
facilitate.
At the heart of many of these recommendations is the clear need for greater cooperation between
producers, agents, exhibitors, public bodies and all those with an interest in building the profile
and commercial potential of UK short film.
6.3 Measuring future success
Three main areas will be crucial in gauging the future effectiveness of UK short film policy:
Excellence
Our survey of international festivals and programmers has confirmed the high performamce
levels of British shorts abroad. In the future it will be important to quantify this performance
annually, not just by counting up prizes won but also by monitoring press coverage and profile,
and by assessing the effectiveness of our production and promotional support in contributing to
this success.
Talent progression
A strong case needs to be made for the short film as a unique entry-point and training-ground for
the wider industry. Although the „conversion rate‟ from shorts to features will remain an
important indicator, there are many other areas where the role of shorts in career development
should be assessed; in particular in television, music video and advertising, and in our ability to
produce animation and post-production talent in demand internationally.
Sales
The UK has no data on short film sales at present, not even an overview along the lines of
UniFrance‟s study. While it is widely acknowledged that – in common with most short film
industries - the figures involved are not significant enough to merit detailed study, in the future it
will be important to establish some form of baseline sales figures in order to track growth. In
particular, more detailed data on online sales and the success of pay-per-download initiatives
will be essential in gauging the significance of these new platforms. We should also be looking
at the levels of representation for UK filmmakers taking their work abroad, whether through
collectives or sales agents, and how this representation impacts on their commercial potential.
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