Northern Alliance - BFI

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Of the above short filmmakers, how many have subsequently… Made a short film Made a feature film Received development funding for a feature film Got a related industry job (eg TV, new media, cross-disciplinary) Received industry recognition: eg, coverage in Screen International and other “trades” Received public recognition: eg, coverage in the Guardian Additional comments: 4G. Diversity Please give number here: No data collected Of all the short filmmakers in 4F, please give the following breakdown: Directors Producers Writers Other 06/07 07/08 08/09 Women BME Disabled Women BME Disabled Women BME Disabled Additional comments Page 114 No data collected
4H.Of the above, how many have subsequently… Made a short film Made a feature film Received development funding for a feature film Got a related industry job (eg TV, new media, cross-disciplinary) Received industry recognition: eg, coverage in Screen International and other trade publications Received national public recognition: eg, coverage in a national newspaper such as the Guardian Additional comments: Thank you very much for your time. Please give number here: No data collected Women BME Disabled Page 115
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Northern Alliance Review of short f
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Appendices I Case studies 56 II Def
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1. Executive summary 1.1 Introducti
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support a single disabled filmmaker
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emerge as a result of the structure
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target audience consists of the var
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While our interviewees had sympathy
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3.2 The UK Film Council‟s strateg
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Table 2: Summary of the NCF‟s pro
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All of the entities in the table ab
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Table 4: Recent applicants and awar
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Table 5: Strategic partners‟ prio
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There is a need to ground all futur
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Table 8: Success and its cost, from
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Shorts appears relatively efficient
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As noted in section 4.2 above, the
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Given that Cinema Extreme positions
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Figures for the Digital Shorts prog
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“We have no brief to work towards
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4.5.2. Revenues Table 14: Scheme re
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Others were more critical, openly q
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4.7 Support for showcasing films at
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The provision of culturally signifi
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less than a quarter of the cost of
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Recommendation: The UK Film Council
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emove the perceived element of comm
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As part of our review we checked th
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films produced in the UK. We would
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million in only a few weeks. I was
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That dedication and persistence has
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Appendix II Definitions Exactly wha
Page 63 and 64: Directors, started in 1989 and prod
Page 65 and 66: Appendix IV Why short films are mad
Page 67 and 68: Appendix V The public value of shor
Page 69 and 70: Social networking sites, such as Be
Page 71 and 72: Investment in the production of sho
Page 73 and 74: Agency Scheme Number of shorts Budg
Page 75 and 76: Appendix VIII Overview of the UK Fi
Page 77 and 78: Some rules, such as the requirement
Page 79 and 80: The future The short film schemes h
Page 81 and 82: Appendix XI Short film internationa
Page 83 and 84: Beyond Europe 1: New Zealand Film C
Page 85 and 86: Appendix XII Data availability Summ
Page 87 and 88: it subject to loss because of staff
Page 89 and 90: Appendix XIII Platforms and audienc
Page 91 and 92: “There isn‟t much of an audienc
Page 93 and 94: Appendix XV Access and diversity Pa
Page 95 and 96: Appendix XVI Business affairs Short
Page 97 and 98: (b) VAT is paid on awards and provi
Page 99 and 100: Completion Fund, and from the Natio
Page 101 and 102: The training scheme is best known f
Page 103 and 104: Appendix XVIII The role of film fes
Page 105 and 106: Appendix XIX List of interviewees O
Page 107 and 108: Appendix XX Sample survey questionn
Page 109 and 110: 3. Measuring success How does your
Page 111 and 112: 4B. Festival screenings of short fi
Page 113: 4E. Revenue generated: Please provi
Page 117 and 118: 'Developing exceptional talent' and
Page 119 and 120: for making and reporting distributi
Page 121 and 122: Of the filmmakers supported by resp
Page 123 and 124: Filmmaker activity On average, each
Page 125: Appendix XXII Northern Alliance Nor
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Northern Alliance - BFI

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