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3. The UK Film Council‟s support for short film 3.1 The UK Film Council‟s objectives Since its inception, the UK Film Council, via its New Cinema Fund (NCF), has supported the production and distribution of short films throughout the UK. The following key objectives were set for the NCF‟s short film strategy, in October 2000: 1. To provide a coherent, focused and UK-wide framework to support the production and dissemination of short films, replacing the existing patchwork of funding-led schemes; 2. To develop new creative and technical talent; 3. To encourage the use of digital production and distribution technologies; 4. To promote cultural diversity and tackle social exclusion. The strategy also advocated a two-tier system for short film support. The first tier would consist of each nation and region producing digitally made short films for a budget of no more than £10,000 each, with a minimum output per region of eight short films a year. The second tier would be dedicated to short film initiatives that would meet specific strategic objectives, such as particular genres of short films, with an aim to work with partners already active in short film funding, such as the BBC and Channel 4. Since the original objectives were set, the NCF‟s short film strategy has evolved. The NCF summarised those changes in 2008, when it described the overall aim for its intervention in short filmmaking as, “bringing creatively outstanding feature filmmakers into the UK film industry”. In addition to re-stating the fund‟s original objectives for short film, new objectives covered: The provision of a UK-wide framework to support career development of filmmakers; Working with a range of UK-wide funders, partners and industry in the progression of emerging talent; An emphasis on developing innovative and original filmmaking. Critically, the NCF states that its priority has moved from filmmaker „discovery‟ to filmmaker „development‟. The strategy paper clearly illustrates this new focus: “While the New Cinema Fund realises it cannot provide a seamless ladder of opportunity for every short filmmaker, we are working with all our partners to focus attention and resources on progressing the most talented of our emerging filmmakers towards feature films.” New Cinema Fund Strategy 2008-2010 Page 14
3.2 The UK Film Council‟s strategy A range of measures have been taken by the various departments of the UK Film Council to meet the key objectives of its short film strategy, including: 1. Provision of a coherent UK-wide framework Funding has been made available by the NCF to each nation and region in the UK, on a matching basis, to support digital short filmmaking; Originally, the £10,000 maximum budget per film and annual output requirements were stuck to across the board, but over time each of the strategic partners in the UK‟s nations and regions have had more freedom to plan their initiatives to fit local circumstances; The NCF also appointed Lifesize Pictures, an independent company, to manage all its short film schemes in partnership with the National and Regional Screen Agencies and other strategic partners. 2. Development of new creative and technical talent Four distinct, UK-wide short film initiatives have been put in place, which target filmmakers at different stages of their careers. These provide a ladder of talent development, leading from entry-level schemes all the way up to schemes that support filmmakers who are approaching their first feature film. 3. Encouragement of digital production and distribution Two of the NCF‟s four short film initiatives, Digital Shorts and Digital Nation, have an explicit requirement to shoot the films on a digital format. In terms of numbers of films made each year, these two schemes represent the vast majority 12 of the short films financed by the NCF. However, apart from the discontinued Viral Shorts scheme, there are no ongoing NCF initiatives to encourage the digital distribution of short films, such as a dedicated online platform. 4. Promotion of cultural diversity and tackling social exclusion In addition to working with its strategic partners to reach out to under-represented communities, the NCF also funds two specialist short film initiatives targeting filmmakers from black and other ethnic minority backgrounds (Blank Slate, managed by B3 Media) and disabled filmmakers (The Magic Hour, managed by 104 Films). The UK Film Council‟s Diversity Unit became a co-funder of these initiatives in 2008. 12 93% of all NCF films since inception. Source: UK Film Council official collected statistics. Page 15
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
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Page 11 and 12: target audience consists of the var
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Page 17 and 18: Table 2: Summary of the NCF‟s pro
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Page 25 and 26: There is a need to ground all futur
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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
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Page 43 and 44: 4.7 Support for showcasing films at
Page 45 and 46: The provision of culturally signifi
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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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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
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4B. Festival screenings of short fi
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4E. Revenue generated: Please provi
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4H.Of the above, how many have subs
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'Developing exceptional talent' and
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for making and reporting distributi
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Of the filmmakers supported by resp
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Filmmaker activity On average, each
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Appendix XXII Northern Alliance Nor
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