Northern Alliance - BFI

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3.4 The UK Film Council and its partners‟ roles and responsibilities Diversity Team Invests in outreach and specialist short schemes; advises Digital Strategic Partners Skillset Funds training and workshops Communications Department Funds shorts marketing events; liaises with NCF and Lifesize regarding shorts press, marketing and events, eg festivals Digital Shorts and Digital Nation Partners Raise partnership funding Set the strategy and guidelines for individual schemes Run the application shortlisting selection development, production and delivery of schemes Develop scripts and creatively oversee production Report quarterly data and collate diversity data Contribute to national training scheme UK FILM COUNCIL New Cinema Fund Decides strategic direction; develops new initiatives; tracks talent; funds schemes and runs management renewal processes; funds and manages Lifesize Lifesize Pictures Finance Department Due diligence on new partners; payments to management partners and other recipients; invoices for share of revenue on shorts Advises UK Film Council on managing partner applications for schemes Contracts with The Bureau and Mayavision Oversees the selection development production and delivery of all short films with shorts partners Editorially inputs to shorts development and production Approves production elements of individual Cinema Extreme and Digital Nation films Approves invoices Advises partners on design of training schemes Proactively sources and advises filmmakers Provides targeted marketing and promotion of NCF shorts, eg at festivals Checks and archives all delivery materials Handles short film inquiries Develops new initiatives and partnerships Runs the Director‟s Lab at the Edinburgh International Film Festival and Virgin Media Shorts Reports quarterly to UKFC and collates talent tracking information Business Affairs Department Approves scheme guidelines; due diligence; set legal terms and provides standard documents; contracts with scheme providers or with production companies per film; advice on legal complications The Bureau (Cinema Extreme) and Mayavision International (The Completion Fund) Run the application shortlisting, selection, production and delivery of short films Develop scripts and creatively oversee production Report quarterly and collate diversity data Run training for shortlisted applicants Page 18
All of the entities in the table above deal to some degree with individual short films and the individuals who make them. To complete the picture of the UK Film Council‟s support for short filmmaking, the roles of two further units within the UK Film Council should be considered: its Monitoring Unit and the UK Partnerships Department. Neither is explicitly tasked with dealing with individual filmmakers or films, but both play important roles in the provision of the UK Film Council‟s support. The UK Film Council‟s Monitoring Department gathers and analyses information about the UK Film Council‟s activity, in order to aid the assessment of its effectiveness and inform its future practice. It does not, however, have lead responsibility for the collection of data or the development of systems to ensure such data is comprehensive. (See section 4.2 and Appendix XII for further discussion of this topic). In addition to the £5.9 million invested directly in short film programmes, the UK Film Council has made available significant blocks of funding for its partners to invest in short films. This has principally been via RIFE, administered by the UK Partnerships Department. The total amount of RIFE funding administered by Regional Screen Agencies to support short filmmaking is around £300,000 a year. 3.5 The UK Film Council‟s activities in respect of access and diversity Diversity is a policy priority for the UK Film Council. This is reflected in the objectives of all the NCF‟s short schemes. 20 The numbers of awardees from ethnic minority backgrounds and people with a disability are increasingly represented 21 among filmmakers supported by the Digital Shorts programme in recent years. 20 Digital Shorts guidelines to applications by strategic partners (2008) state: “By 2010 we hope that 50% of our applications and films will be made by female directors, 25% by minority ethnic directors and 4% by disabled directors.” 21 Source: UK Film Council official collected statistics. Page 19
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: Table 2: Summary of the NCF‟s pro
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
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Agency Scheme Number of shorts Budg
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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
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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
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(b) VAT is paid on awards and provi
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Completion Fund, and from the Natio
Page 101 and 102:
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
Page 115 and 116:
4H.Of the above, how many have subs
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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