FILM IN ENGLAND - UK Film Council - British Film Institute
FILM IN ENGLAND - UK Film Council - British Film Institute
FILM IN ENGLAND - UK Film Council - British Film Institute
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Consultation 3<br />
20<br />
<strong>Film</strong> in England<br />
■ The North East still massively affected by industrial decline but with a strong<br />
sense of its own identity<br />
■ The diverse, at times competing, needs and aspirations of practitioners in<br />
Merseyside and Manchester in the North West<br />
■ The South East positioned in the shadow of London but a region building a<br />
strong reputation for new media businesses<br />
■ The communication difficulties in the South West given the huge distance<br />
between the Isles of Scilly at one extreme and Gloucester at the other and,<br />
separately, Cornwall’s stated affinity with the Celtic nations<br />
■ The extensive rural hinterlands in the West Midlands which often feel<br />
overshadowed by Birmingham<br />
■ The growing ambition and confidence of Sheffield and South Yorkshire as a<br />
centre for film and new media production.<br />
3.2.3 Despite the diversity of interests represented, more striking was the extremely<br />
high degree of consensus about what the <strong>FILM</strong> COUNCIL could and should do to<br />
maximise each region’s potential. In summary, it was thought that the <strong>FILM</strong><br />
COUNCIL’s strategy would need to acknowledge:<br />
Diversity<br />
■ A widely held belief that of the available Government resources for film, the<br />
English regions had fared badly in relation to central London, ie that too high<br />
a proportion of resources is being invested in services delivered from London<br />
and in London-based attractions and amenities (eg the bfi National <strong>Film</strong><br />
Theatre and the bfi National Library), at the expense of support for similar<br />
activities in the regions<br />
■ That despite good intentions, opportunities for ethnic minorities, disabled people<br />
and other minority groups to progress within the industry have been too limited.<br />
Structural effectiveness<br />
■ That industrial concerns and cultural concerns should be addressed together<br />
and not separated artificially for planning or funding purposes<br />
■ That overall the film sector across the English regions lacks a sense of<br />
common purpose<br />
■ That the planning framework for film in the regions is still underdeveloped<br />
■ That the regions want maximum control of their own destiny and could<br />
effectively express their achievable and realistic intentions through a ‘business<br />
plan’ or ‘investment prospectus’ providing a common planning framework<br />
agreed by all funding partners and stakeholders including the RDAs and the RCCs