Northern Alliance - BFI

More documents

Recommendations

Info

Appendix XXI Summary of questionnaire responses 1. Strategic partners‟ questionnaire Methodology Northern Alliance drafted and sent a questionnaire to the following strategic partners of the UK Film Council‟s short film schemes: Nine Regional Screen Agencies (EM Media, Film London, Northern Film and Media, North West Vision, Screen East, Screen South, South West Screen, Screen West Midlands, Screen Yorkshire) Three National Screen Agencies (Film Agency for Wales, Northern Ireland Screen, Scottish Screen) Four other strategic partners: B3 Media, Mayavision, The Bureau and 104 films. Of these, only Film Agency for Wales was unable to respond because it was not running a UK Film Council short scheme during the period of review. All the other strategic partners responded, though there was a wide variation in the amount of information available. In total, 25 individual responses were collected, each scheme being treated separately as a distinct respondent. The following summary is an analysis of what data are recorded, as opposed to a completely accurate picture of all short film activity. The most useful conclusion from the survey is as evidence of the patchwork nature of data collection and the problems this causes in attempting to measure short film activity in any quantitative way. Strategic partner objectives Overall the objectives for the UK Film Council‟s Strategic Partner‟s short film schemes are: 1. Developing exceptional talent; 2. Discovering new talent; 3. Helping key talent move to feature films; 4. Producing critically acclaimed short films; 5. Encouraging creative experimentation; 6. Encouraging diversity in the film industry; 7. Producing short films for a wide public audience; 8. Encouraging use of digital and new technologies; 9. Training all crew. Page 116
'Developing exceptional talent' and 'discovering new talent' also had the highest number of votes as first and second priorities. Measures of success Career development: 100% of respondents cited career development as their organisation‟s measure for success of short film. Yet five respondents do not collect career tracking data at all, 97 and 11 of all 25 respondents did not track all of the categories which they agreed, as part of the questionnaire, were key career tracking data. Diversity: The joint second most popular measure of success for an organisation was diversity with 95.5% approval. The UK Film Council has a rigorous and well-run monitoring system for measuring diversity key performance indicators, which has resulted in most strategic partners being able to provide diversity information. However only nine out of 25 respondents are able to cross-reference their two most popular measures of success: diversity and career development. In other words, strategic partners may regard hitting diversity targets as a key measure of success, but do not look to see how the people representing these figures develop in their careers. Those that do not track career development of filmmakers cite lack of resources or contractual obligation as the reason. 97 This total includes strategic partners not able to provide separate career tracking information for the Digital Shorts and Digital Nation schemes; and a UK Film Council strategic partner which is also supporting Arts Council England (ACE) funded short films, and not tracking the resulting career data. Page 117
Page 1 and 2:
Northern Alliance Review of short f
Page 3 and 4:
Appendices I Case studies 56 II Def
Page 5 and 6:
1. Executive summary 1.1 Introducti
Page 7 and 8:
support a single disabled filmmaker
Page 9 and 10:
emerge as a result of the structure
Page 11 and 12:
target audience consists of the var
Page 13 and 14:
While our interviewees had sympathy
Page 15 and 16:
3.2 The UK Film Council‟s strateg
Page 17 and 18:
Table 2: Summary of the NCF‟s pro
Page 19 and 20:
All of the entities in the table ab
Page 21 and 22:
Table 4: Recent applicants and awar
Page 23 and 24:
Table 5: Strategic partners‟ prio
Page 25 and 26:
There is a need to ground all futur
Page 27 and 28:
Table 8: Success and its cost, from
Page 29 and 30:
Shorts appears relatively efficient
Page 31 and 32:
As noted in section 4.2 above, the
Page 33 and 34:
Given that Cinema Extreme positions
Page 35 and 36:
Figures for the Digital Shorts prog
Page 37 and 38:
“We have no brief to work towards
Page 39 and 40:
4.5.2. Revenues Table 14: Scheme re
Page 41 and 42:
Others were more critical, openly q
Page 43 and 44:
4.7 Support for showcasing films at
Page 45 and 46:
The provision of culturally signifi
Page 47 and 48:
less than a quarter of the cost of
Page 49 and 50:
Recommendation: The UK Film Council
Page 51 and 52:
emove the perceived element of comm
Page 53 and 54:
As part of our review we checked th
Page 55 and 56:
films produced in the UK. We would
Page 57 and 58:
million in only a few weeks. I was
Page 59 and 60:
That dedication and persistence has
Page 61 and 62:
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 and 114: 4E. Revenue generated: Please provi
Page 115: 4H.Of the above, how many have subs
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
show all

Northern Alliance - BFI

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?