Northern Alliance - BFI

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Table 3: Digital Shorts applicants and awardees 2002/03-2008/09 22 2002/ 03 2003/ 04 2004/ 05 2005/ 06 2006/ 07 2007/ 08 2008/ 09 Average all years Applicants (%) Ethnic minority 21% 14% 20% 16% 23% 24% 17% 21% Female 42% 33% 37% 27% 34% 33% 32% 33% Disabled 1% 2% 2% 3% 7% 10% 4% 6% Awardees (%) Ethnic minority 8% 11% 17% 17% 8% 18% 31% 15% Female 29% 25% 35% 30% 28% 32% 39% 32% Disabled 0% 0% 1% 4% 3% 4% 8% 3% The Completion Fund and Cinema Extreme 1 monitored applicants and awardees in different ways, 23 so it is only possible to compare recent awardees. 24 22 This table shows the change in the proportion of minority applicants and awardees for the Digital Shorts scheme from the UK Film Council's inception; it includes Blank Slate but not The Magic Hour data. Figures reflect activity up to September 2009. 23 The Completion Fund only collected data on the diversity of its applicants, and not its awardees, for the period from 2003/04 to 2006/07. Applicant trends show female applicants rising from 18% to 36%, ethnic minority applicants rising from 13% to 22% and disabled applicants rising from 3% to 4% over this period. This is similar to the application trend for Digital Shorts for the same period. For the year 2008/09, both applicant and awardee data have been collected. Conversely, Cinema Extreme has only collected data on the diversity of its awardees, and not its applicants, over the period 2002/03 to 2007/08. During this time, female awardees have fallen from 50% to 33%; and ethnic minority awardees stood at 0% at the beginning and the end of the period, reaching a high of 18% in 2006/07. Over the entire period, ethnic minority representation averaged 7%. No awards have been made to disabled filmmakers. 24 Source: UK Film Council official collected statistics. Digital Shorts figures exclude minority schemes; no separate UK Film Council diversity key performance indicators were available for the Digital Shorts Plus/Digital Nation scheme, though some Digital Nation films appeared to be recorded in the same database so we can assume that the Digital Shorts key performance indicators are the best available estimates for both schemes. Page 20
Table 4: Recent applicants and awardees from minorities across schemes, 2008/09 25 2008/09 Digital Shorts (excl. Applicants (%) Completion Fund Cinema Extreme special schemes) Ethnic minority 28% 17% 17% Female 40% 31% 32% Disabled 2008/09 Awardees (%) 5% 1% 3% Ethnic minority 10% 0% 15% Female 30% 50% 44% Disabled 0% 0% 7% The UK Film Council's Diversity Unit recognises that in schemes tasked with discovering and advancing talent, quotas and targets cannot be arbitrarily imposed: “We need to make access and diversity a way of doing things, rather than a set of outcomes.” Using its grant in aid budgets, the Diversity Unit has recently partnered with NCF Lottery funds for short film production. These joint funds have been directed towards two positive action programmes: Blank Slate 26 run by B3 Media, which supports black and ethnic minority filmmakers; and The Magic Hour ,,27 run by 104 Films, which supports disabled filmmakers. The grant in aid funding from the Diversity Unit allows B3 Media and 104 Films to provide specific outreach and access activities that would be difficult to fund through NCF Lottery funds alone. Both schemes are conceived as temporary, fast-track initiatives to encourage ambition, engagement and the development of skills and knowledge among target groups, anticipating a point at which such special measures will no longer be needed and the mainstreaming of diversity will be effective. The UK Film Council recognises that achieving that aim will be difficult, especially in a way that does not exclude disabled filmmakers. 25 Figures reflect activity up to September 2009. 26 B3 Media describes the primary objective of Blank Slate as the opportunity to make digital shorts and develop talent with a twist - “The twist is the ethnic remit”. B3 aims to support filmmakers to improve storytelling skills, and develop a knowledge of the film industry and how it works. Film production budgets range from £4,000-£17,000; the lower end of the spectrum enables B3 to work with and develop very inexperienced filmmakers “with little or no formal training, but who show a spark of talent”, without the pressure and risk that higher budgets would bring. 27 The Magic Hour scheme represents “a tectonic shift in the presence of disabled people in UK film”. Its key aim is to put more disabled people in front of and behind the camera. In addition, it aims to provide training for the filmmakers and “best practice examples” of the value working with disabled filmmakers, aimed at the industry; an evaluation report of The Magic Hour scheme is intended to introduce best practice models to the national and regional screen agencies, for example. Working with disabled filmmakers involves specific access costs, such as additional carers or specially adapted vehicles for disabled filmmakers. All films are made on a budget of around £8,000. The filmmakers and producers consulted agreed this was a very demanding figure. Page 21
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: All of the entities in the table ab
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
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Beyond Europe 1: New Zealand Film C
Page 85 and 86:
Appendix XII Data availability Summ
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it subject to loss because of staff
Page 89 and 90:
Appendix XIII Platforms and audienc
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“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
Page 99 and 100:
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
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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