Northern Alliance - BFI

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higher education. Certain film schools, and in particular the National Film and Television School, were specifically referred to by interviewees as a source of high quality short films. Broadcasters occasionally commission short films; the rest, which we estimate at around 50 a year, are financed privately. Although detailed figures do not appear to have been compiled, we believe that the annual cost of the short films produced within UK higher education runs to several millions of pounds. This would appear to make the Higher Education Funding Council for England (HEFCE) the largest single investor in the production of short films in the UK. Given the very limited private finance available for short filmmaking, the four programmes financed by the UK Film Council, examined in detail in section 3, represent the most important source of funding for films made in the UK outside of higher education 11 . The National and Regional Screen Agencies were frequently quoted by interviewees as being among the most important organisations supporting short film in the UK. This is not just because of their role in delivering the UK Film Council‟s programmes, but also because of other activity relevant to short film production. For example, EM Media and Scottish Screen support the production of short films by targeting the provision of „next step‟ shorts support (similar in their aims to Cinema Extreme). Film London manages an Arts Council England (ACE) funded initiative called Flamin, which targets artist filmmakers. The Film Agency for Wales operates a scheme to test feature directors, and Scottish Screen provides another targeted at documentary filmmakers. Several Screen Agencies also offer a small number of non-production schemes targeted at the makers of short films, primarily to support the completion and/or festival exhibition of films. The present level of short film production in the UK is therefore largely a factor of public funding of one kind or another. 2.6 Value When considering the payback that short films make to the UK‟s cultural life in return for this public funding, it may be useful to think of their contribution in one of two ways: their intrinsic value as a form of art or entertainment in their own right; and their instrumental value as a means of developing the skill set of the UK industry as a whole, in particular the subsequent feature films of short film „graduates‟. 11 Further sources of public finance include local authorities, especially the London Borough Film Funds, and broadcasters (BBC and Channel 4). Page 12
While our interviewees had sympathy for the former, there was a clear consensus that the primary contribution made by short films was instrumental in nature, and they saw the provision of content for audiences as essentially a by-product of activity dedicated to the discovery, development and showcasing of prospective feature filmmaking talent (see Appendix V for further comment on the public value of short film). A commonly held belief among interviewees was that the writers, directors and producers of short films are likely to come from a broader cross-section of the UK‟s population than those of feature films. Despite concerns that more could be done, there was widespread appreciation of the public value of short filmmaking in refreshing and sustaining the UK feature film industry and the UK‟s feature film culture (see case study A New Voice, Appendix 1). Page 13
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: target audience consists of the var
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
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Directors, started in 1989 and prod
Page 65 and 66:
Appendix IV Why short films are mad
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Appendix V The public value of shor
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Social networking sites, such as Be
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Investment in the production of sho
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Agency Scheme Number of shorts Budg
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Appendix VIII Overview of the UK Fi
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Some rules, such as the requirement
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The future The short film schemes h
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Appendix XI Short film internationa
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Beyond Europe 1: New Zealand Film C
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Appendix XII Data availability Summ
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it subject to loss because of staff
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Appendix XIII Platforms and audienc
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“There isn‟t much of an audienc
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Appendix XV Access and diversity Pa
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Appendix XVI Business affairs Short
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(b) VAT is paid on awards and provi
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Completion Fund, and from the Natio
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The training scheme is best known f
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Appendix XVIII The role of film fes
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Appendix XIX List of interviewees O
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Appendix XX Sample survey questionn
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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
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4H.Of the above, how many have subs
Page 117 and 118:
'Developing exceptional talent' and
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for making and reporting distributi
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Of the filmmakers supported by resp
Page 123 and 124:
Filmmaker activity On average, each
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Appendix XXII Northern Alliance Nor
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Northern Alliance - BFI

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