Northern Alliance - BFI

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List of tables Pages Table 1: UK Film Council supported activity 2001-2009 5 Table 2: Summary of the New Cinema Fund‟s (NCF) 17 production spend and number of films produced per scheme from inception to August 2009 Table 3: Digital shorts applicants and awardees, 2002/03- 20 2008/09 Table 4: Recent applicants and awardees from minorities 21 across schemes 2008/09 Table 5: Strategic partners‟ priorities regarding the role of 23 short films Table 6: Festival screenings and prizes, from inception to 25 August 2009 Table 7: International Festival screenings and prizes, from 26 inception to August 2009 Table 8: Success and its cost from inception to August 2009 27 Table 9: International success and its cost, from inception to 28 August 2009 Table 10: Ancillary distribution 2006-2009 30 Table 11: Filmmaker career progression 2006-2009 32 Table 12: Minority groups as a percentage of each scheme‟s 34 total, 2006-2009 Table 13: Scheme cost per minority filmmaker 2006-2009 35 Table 14: Scheme revenues 2006-2009 39 Table 15: Interviewees‟ priorities regarding the role of short 44 films Table 16: Filmmakers‟ priorities regarding the making of 65 short films Table 17: Support for short film in a sample of European 82 countries Table 18: A comparison of short film schemes‟ current 95 contracts Page 4
1. Executive summary 1.1 Introduction The UK Film Council commissioned <strong>Northern</strong> <strong>Alliance</strong> to undertake a review of short film in the UK and the UK Film Council‟s support for short film production, to inform its future approach to the sector. In addition to research and analysis of existing information, we interviewed 28 key stakeholders and conducted four focus groups. Further details of the work undertaken are appended. Short film had a long, chequered history before the creation of the UK Film Council, with sales to broadcasters already in decline in the 1990s. On average, a UK short film now generates just £160 in revenue. The production of cinematic quality short films largely depends on public support. 1.2 The UK Film Council‟s support for short film Shortly after its inception, the UK Film Council moved swiftly to replace the „patchwork quilt‟ of public funding for short film with a coherent and well resourced framework, including specific measures to ensure that minorities were among the new voices it helped to discover and support. Since then, the New Cinema Fund‟s (NCF)‟s four core programmes - Cinema Extreme, the Completion Fund, Digital Shorts and Digital Shorts Plus/Digital Nation - have helped to make over 800 films; over the same period, however, the UK‟s higher education providers have invested substantially more money in more films. Table 1: UK Film Council supported activity 2001-2009 1 Scheme NCF spend (£) from inception Number of films produced Cinema Extreme 642,703 24 Completion Fund 380,118 72 Digital Shorts 3,821,400 684 Digital Shorts Plus / Digital Nation 250,000 25 Total 2 5,904,221 805 1 Figures reflect activity up until August 2009. 2 In addition, three smaller programmes produced 12 films: CNC (3), Comedy Shorts (4) and Viral Shorts (5). Page 5
Page 1 and 2: Northern Alliance Review of short f
Page 3: Appendices I Case studies 56 II Def
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
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films produced in the UK. We would
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million in only a few weeks. I was
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That dedication and persistence has
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Appendix II Definitions Exactly wha
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Directors, started in 1989 and prod
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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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Northern Alliance - BFI

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