DOCSLIB.ORG

The Inbetweeners Screenplay

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE INBETWEENERS MOVIE Written by DAMON BEESLEY & IAIN MORRIS SHOOTING SCRIPT 2 (04/02/2011) INCORPORATING PINK AMENDMENTS DATED 05/02/11 Young Bwark Ltd 35-47 Bethnal Green Road London E1 6LA Tel. 020 7749 9510 (c) 2010 Young Bwark Ltd These script pages are highly confidential and intended only for the recipient whose name they are watermarked with. In accordance with Bwark Productions Ltd and Young Bwark Ltd's Data Protection Policy, commercially confidential data must not be disclosed to any unauthorised person(s) and must be kept securely. Please only print a hard copy of this script if absolutely necessary, and ensure that they are not left where they can be read by any third party, nor the digital file copied or emailed to any third party. The Inbetweeners Movie - Pink amendments 05/02/2011 1 1 EXT. HELICOPTER SHOTS MOVING OVER SUBURBIA - DAY 1 1 WILL V/O Suburbia. The place we called home. Safe, comforting, leafy. And I fucking hated it and couldn't wait to leave. The camera flies towards a suburban house (as a red people carrier pulls out the drive) and swings round behind the house to a back window. It moves through the window and settles on a full E45 cream tub, a large packet of wafer thin ham and a ski-glove picking at the ham. 2 INT. JAY'S BEDROOM. DAY 1 2 JAY is kneeling on his bed wearing only a football shirt and the glove. The E45 and ham are next to him. Over his shoulder we can see a partially clothed woman on the screen, wearing what might best be described as 'Matalan lingerie chic', - cheap underwear worn without any real attempt to sexily 'fill' it. We move round to see JAY's face. He’s wearing a diving mask and snorkel (snorkel not in, but hanging loose). JAY (NERVOUSLY EXCITED) You promise this’ll be properly filthy? WOMAN ON COMPUTER (DEADPAN, FLAT, BORED,EASTERN EUROPEAN) Oh yes, very sexy, like bomb explode in penis. So sexy, like finger up bumhole. JAY seems slighty unsure about this. JAY Mmm, i’m feeling sexy. WOMAN ON COMPUTER Take off mask baby, let me see you. JAY I can't, I'm shy. WOMAN You not shy, you big boy. i need you in me, really bad, so you pay now or I go. JAY Oh Christ, you make me so erect. The Inbetweeners Movie - Pink amendments 05/02/2011 2 WOMAN Yes, you also make me erect... JAY has momentary confused reaction to this. WOMAN (CONT’D) ...now put in card details. Oh i’m soooo horny. Don’t forget security number on back. JAY rushes into his wallet and starts typing in a number. 3 INT WILL'S DAD'S HOUSE - DAY 1 3 WILL is sitting on a large tasteful sofa. A bookshelf is behind him and the place gives off an air of class and money and is markedly different to all the suburban houses we flew over. WILL's FATHER sits opposite WILL on another large tasteful sofa, whilst SUSIE fusses around. WILL is mid-flow, his father making 'hmm' noises throughout. WILL …but if I defer and try again for Oxford, I'll probably lose the place at Bristol… WILL'S FATHER Hmm WILL …which is a good university, but not my dream. Do you think it matters in the long term, or is the subject and the standard of degree more important? WILL'S FATHER So I got married. WILL What? WILL'S FATHER To Susie. We got married. WILL You mean re-married. SUSIE This time it's for keeps though. WILL When did this happen? The Inbetweeners Movie - Pink amendments 05/02/2011 3 WILL'S FATHER Few weeks ago. I was going to invite you but I know how you are around people. WILL How am I? WILL'S FATHER Awkward. Weird. WILL I don't live in a cave, I live in suburban London. I spend my entire life around people. Much as I'd like to, it's almost impossible to avoid them. WILL'S FATHER See, this is what I mean. BEAT WILL Well, was it a big wedding? WILL'S FATHER No. Just a couple of hundred close friends and family SUSIE And it was perfect. They kiss, WILL grimaces. WILL I can't believe you didn't invite me to your wedding. WILL'S FATHER So, what are you up to this summer then? WILL Oh, you're changing the subject? WILL'S FATHER Um-hmm. WILL Fine. I don’t know, I guess i’ll be going on holiday. WILL'S FATHER Oh, this’ll be good, what’ve you got planned; The Trans-Siberian express, fossils hunting in Dorset? * Or something even weirder? The Inbetweeners Movie - Pink amendments 05/02/2011 4 WILL No, actually, something normal. I'm going to go somewhere normal, with my normal friends to a place full of normal people. WILL'S FATHER And you of course. WILL looks at his father. 4 INT. SUBURBAN SUPERMARKET, FISH COUNTER. DAY 4 - EARLY EVENING 1 NEIL SUTHERLAND is working behind the fish counter at a supermarket. It's almost six o'clock, it's busy, and there is a queue of people behind the CUSTOMER he's currently serving. The CUSTOMER is a bit tricky and NEIL is going back and forth from the prawns to get exactly the right weight for them. NEIL (TAKING IT IN HIS STRIDE) It's a bit over, is that okay? CUSTOMER Hmm, not really JAY's MUM walks by with a shopping trolley. NEIL Alright Jay’s mum. Where's Jay? JAY'S MUM Oh hello Neil. He’s at home, updating his CV. Her phone rings. She answers looking worried, and walks off. JAY'S MUM (CONT’D) Excuse me. Hello, oh. Oh. NEIL How about now? CUSTOMER Not really. NEIL's taking a few prawns away when he sees the clock on the wall behind him click over to 6pm. He drops the prawns, which scatter everywhere, throws off his hat, and walks over to the doorway behind the counter where there's a girl, NICOLE, also in supermarket uniform, waiting. CUSTOMER (CONT’D) Excuse me, my prawns? NEIL (WITH A SHRUG) Sorry mate, I finish at six. The Inbetweeners Movie - Pink amendments 05/02/2011 5 NEIL grabs the girl (NICOLE) and in full view of the customers they start snogging long and hard. The waiting customers look on disgusted. Eventually they break for air. NEIL (CONT’D) Cheers for that. NICOLE You don't have to thank me every time. NEIL Oh right. Cool. NICOLE You stink of fish. NEIL Yeah. It's the fish. You're so fit. They start snogging hard again. 5 INT CARLI D'AMATO'S HOUSE - EARLY EVENING 1 5 SIMON and CARLI are sitting on her bed, snogging. He looks very into it, her not so much, and as his arm goes up to touch her boob she pulls away. CARLI Simon, we need to talk. SIMON Oh not talking. CARLI It’s been great so far, but... SIMON It’s been amazing. Literally the best year of my life, my spots clearing up, not moving to Wales and now you. And i’m definitely getting better at kissing aren’t i? CARLI I think we should break up. SIMON What? CARLI We're both going away to Uni in a few weeks, and it'll be too hard to keep going long distance. It won't be fair on either of us. The Inbetweeners Movie - Pink amendments 05/02/2011 6 SIMON I don't mind. CARLI You will mind, though. You will. SIMON I bloody won't. CARLI And I'm going on holiday too, so there's that. SIMON Why? What are you planning to do on holiday? CARLI It's for the best, honestly. SIMON Okay, so we'll just get back together again after we finish Uni? CARLI Well, probably not. SIMON But that's not a 'no', is it? CARLI Maybe you should go home, i just need some space to think at the moment. SIMON Cool. Fine. See you later then? CARLI looks at him, then looks away. SIMON shrugs and leaves SIMON (CONT’D) Or whenever. 6 EXT CARLI’S HOUSE - EARLY EVENING 1 6 SIMON leaving CARLI's house looking perfectly upbeat, even happy-go-lucky. 7 INT SIMON’S HOUSE - EARLY EVENING 1 7 SIMON walks in to his house, practically skipping. He shouts into the kitchen as he heads upstairs. SIMON Mum, i’m back, when’s tea? The Inbetweeners Movie - Pink amendments 05/02/2011 7 SIMON’S MUM (O.S.) In a bit. SIMON It’d better be delicious. SIMON gets into his bedroom, switches on the telly, flops on his bed and suddenly bursts into helpless tears. 8 EXT SUBURBAN ESTATE - EARLY EVENING 1 8 We see the red car from earlier pulling back into the drive. JAY's MUM and JAY’S SISTER get out in tears. They walk quickly to the house and open the door. 9 INT JAY'S BEDROOM. - EARLY EVENING 1 9 From what we can see over JAY's shoulder, he is now fully masturbating in a very involved manner. He's kneeling on the towel and completely naked but for a pair of white socks and the snorkel and goggles. We can almost see the woman doing something to herself on screen. Occasionally JAY reaches with his free hand for some more ham.
Recommended publications
  • Statistical Yearbook 2019

    Statistical Yearbook 2019

    STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema
  • BBC Trust’S Review of BBC Services for Younger Audiences

    BBC Trust’S Review of BBC Services for Younger Audiences

    Channel 4 submission to the BBC Trust’s review of BBC services for younger audiences 1. Channel 4 welcomes the opportunity to provide its views to the BBC Trust’s review of BBC services for younger audiences. Channel 4 is a publicly-owned, commercially-funded public service broadcaster. Its core public service channel, Channel 4, is a free-to-air service funded predominantly by advertising. Unlike the other commercially-funded public service broadcasters, Channel 4 is not shareholder owned: commercial revenue is only a means to delivering Channel 4’s public purpose end and any surplus revenues are reinvested in the delivery of its public service remit. 2. In recent years, Channel 4 has broadened its portfolio to offer a range of digital services, including the free-to-air, commercially-funded digital television channels Channel 4+1, E4, E4+1, Film4, More4 and 4Music. Channel 4 also offers a video on demand service, 4oD, and it is expanding its range of services at channel4.com. In addition, Channel 4 offers a range of online education projects for 14 to 19 year olds and has launched an innovation pilot fund, 4iP, which seeks to stimulate whole new digital media services across a range of areas, including video games, the arts, democracy and sport. 3. These innovations have allowed Channel 4 to stay in touch with audiences— especially younger viewers—who are rapidly migrating to digital media. Ever since its launch in 1982, Channel 4’s brand has resonated particularly strongly with teenagers and younger adults, and the organisation speaks with an authenticity of voice which is not easily replicated by other public institutions.
  • Review of the Film Sector in Scotland Creative Scotland

    Review of the Film Sector in Scotland Creative Scotland

    Review of the Film Sector in Scotland Creative Scotland January 2014 This report was produced by: BOP Consulting (www.bop.co.uk) in partnership with: Whetstone Group (www.whetstonegroup.org) Jonathan Olsberg (www.o-spi.com) If you would like to know more about the report, please contact the project’s director, Barbara McKissack: Email: [email protected] Tel: 0207 253 2041 i Contents 4.6 Festivals ........................................................................................... 17 1. Executive Summary ............................................... 1 4.7 Archives ........................................................................................... 18 1.1 Introduction ....................................................................................... 1 4.8 Cultural impact of film ................................................................... 18 1.2 Watching film ..................................................................................... 1 4.9 Consultants’ assessment of the issues ..................................... 19 1.3 Learning about film .......................................................................... 1 1.4 Making film ........................................................................................ 2 5. Learning about film ............................................. 21 1.5 Earning from film – supporting enterprises and 5.1 Introduction .....................................................................................21 employment ......................................................................................
  • Strategies for Promoting Affordable Housing in Oslo: a Case of Strong Path Dependence?

    Strategies for Promoting Affordable Housing in Oslo: a Case of Strong Path Dependence?

    Hildegunn Elstad Christiansen Strategies for promoting affordable housing in Oslo: a case of strong path dependence? A master’s thesis in International Social Welfare and Health Policy Supervisor: Jardar Sørvoll Oslo, November 2020 Oslo Metropolitan University Faculty of Social Science Department of Social Work, Child Welfare and Social Policy Summary This paper is an analysis of the new policy paper for the provision of affordable housing in Oslo, ‘Nye veier til egen bolig’ (new paths to a permanent home), launched by the City Government of Oslo in January 2019. The policy paper is examined in the theoretical light provided by Bengtsson and Ruonavaara’s weak (non-deterministic) conception of path dependence. I have identified the main political strategies for the provision of affordable housing in Oslo and mapped out four criteria based on three key moments (critical junctures) of in Norwegian housing history that I have used to discuss and measure the degree of path dependence in the affordable housing strategies: owner-orientation, rental-friendliness, market-orientation and subsidy-friendliness. The Danish housing scheme Almenbolig+ is included as a comparative element in the analysis, as the City Government have suggested to adapt this from Copenhagen. In the discussion I argue that there are varying degrees of path dependence in today’s affordable housing strategies, but the main tendency is that ownership strategies are the most emphasized and that the ambivalence towards rental housing still persists. The research questions of this paper are: 1) What are the main political strategies of the new policy paper (Nye veier til egen bolig) for the provision of affordable housing in Oslo? 2) To what extent do the affordable housing strategies of the City Government and the surrounding political debates reflect a strong path dependency? The purpose of this study is to shed light on the historical preconditions shaping the affordable housing strategies in Oslo.
  • PRESS RELEASE – Friday 31 May 2019 the INBETWEENERS' STAR

    PRESS RELEASE – Friday 31 May 2019 the INBETWEENERS' STAR

    PRESS RELEASE – Friday 31 May 2019 THE INBETWEENERS’ STAR BLAKE HARRISON ANNOUNCED TO JOIN THE CAST OF • Blake Harrison, best known as Neil Sutherland in the award-winning comedy series The Inbetweeners, will take over the role of Ogie this summer • 30 Rock star Jack McBrayer will complete his West End debut run with the hit musical on Saturday 15 June It is announced today that British television star Blake Harrison, best known for playing Neil Sutherland in the BAFTA-winning E4 comedy The Inbetweeners, will join the cast of Waitress as Ogie from 17 June. He will take over the role from Jack McBrayer, as previously seen as Kenneth in NBC’s 30 Rock, who will mark his final performance on Saturday 15 June. It has also recently been announced that Lucie Jones will take over the role of Jenna following Katharine McPhee’s last performance on 15 June, and Ashley Roberts will step into the role of Dawn from 17 June for a strictly limited summer season. The next Waitress London Cast Album Karaoke Night has also been confirmed for Wednesday 26 June – in partnership with Gay Times. London’s brand-new smash hit musical comedy Waitress tells the story of Jenna, a waitress and expert pie-maker who dreams her way out of a loveless marriage. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness. Waitress celebrated its official opening night at the Adelphi theatre on 7 March and the Tony- nominated musical is now booking to 19 October.
  • Cooperation Or Conflict in the Arctic: a Literature Review Mikkel Runge Olesen

    Cooperation Or Conflict in the Arctic: a Literature Review Mikkel Runge Olesen

    DIIS WORKINGDIIS WORKING PAPER 2014:08PAPER Cooperation or conflict in the Arctic: A Literature Review Mikkel Runge Olesen DIIS Working Paper 2014:08 WORKING PAPER WORKING 1 DIIS WORKING PAPER 2014:08 MIKKEL RUNGE OLESEN PhD, Researcher, Research Area on Foreign policy, DIIS [email protected] DIIS Working Papers make DIIS researchers’ and DIIS project partners’ work available in progress towards proper publishing. They may include important documentation which is not necessarily published elsewhere. DIIS Working Papers are published under the responsibility of the author alone. DIIS Working Papers should not be quoted without the expressed permission of the author. DIIS WORKING PAPER 2014:08 © The author and DIIS, Copenhagen 2014 DIIS • Danish Institute for International Studies Østbanegade 117, DK-2100, Copenhagen, Denmark Ph: +45 32 69 87 87 E-mail: [email protected] Web: www.diis.dk Layout: Allan Lind Jørgensen ISBN: 978-87-7605-703-9 (pdf) DIIS publications can be downloaded free of charge from www.diis.dk 2 DIIS WORKING PAPER 2014:08 CONTENTS Abstract 4 The debates since the late 00s 6 “The warners” 6 “The reassurers” 8 “The inbetweeners” 12 Conclusion 14 References 17 3 DIIS WORKING PAPER 2014:08 ABSTRACT Spill-over from the Ukrainian crisis is threatening an otherwise benign international state of affairs in the Arctic, raising once more the question of whether the Arctic is likely to be a scene for cooperation or conflict in the coming years? This question has defined much Inter- national Relations research on the Arctic region even before Ukraine. This working paper takes stock of the debates between two groups of researchers, which in the paper are named respectively “warners” and “reassurers”, and it argues that the field as a whole has generally become more optimistic regarding the Arctic since 2007.
  • CAST BIOS TOM RILEY (Leonardo Da Vinci) Tom Has Been Seen in A

    CAST BIOS TOM RILEY (Leonardo Da Vinci) Tom Has Been Seen in A

    CAST BIOS TOM RILEY (Leonardo da Vinci) Tom has been seen in a variety of TV roles, recently portraying Dr. Laurence Shepherd opposite James Nesbitt and Sarah Parish in ITV1’s critically acclaimed six-part medical drama series “Monroe.” Tom has completed filming the highly anticipated second season which premiered autumn 2012. In 2010, Tom played the role of Gavin Sorensen in the ITV thriller “Bouquet of Barbed Wire,” and was also cast in the role of Mr. Wickham in the ITV four-part series “Lost in Austen,” alongside Hugh Bonneville and Gemma Arterton. Other television appearances include his roles in Agatha Christie’s “Poirot: Appointment with Death” as Raymond Boynton, as Philip Horton in “Inspector Lewis: And the Moonbeams Kiss the Sea” and as Dr. James Walton in an episode of the BBC series “Casualty 1906,” a role that he later reprised in “Casualty 1907.” Among his film credits, Tom played the leading roles of Freddie Butler in the Irish film Happy Ever Afters, and the role of Joe Clarke in Stephen Surjik’s British Comedy, I Want Candy. Tom has also been seen as Romeo in St Trinian’s 2: The Legend of Fritton’s Gold alongside Colin Firth and Rupert Everett and as the lead role in Santiago Amigorena’s A Few Days in September. Tom’s significant theater experiences originate from numerous productions at the Royal Court Theatre, including “Paradise Regained,” “The Vertical Hour,” “Posh,” “Censorship,” “Victory,” “The Entertainer” and “The Woman Before.” Tom has also appeared on stage in the Donmar Warehouse theatre’s production of “A House Not Meant to Stand” and in the Riverside Studios’ 2010 production of “Hurts Given and Received” by Howard Barker, for which Tom received outstanding reviews and a nomination for best performance in the new Off West End Theatre Awards.
  • The Meaning of 'Quality' in Feature Film Policy Selective Aid Scheme A

    The Meaning of 'Quality' in Feature Film Policy Selective Aid Scheme A

    The meaning of ‘quality’ in feature Film policy selective aid scheme A French/UK cross-cultural perspective Frédéric Gimello-Mesplomb To cite this version: Frédéric Gimello-Mesplomb. The meaning of ‘quality’ in feature Film policy selective aid scheme A French/UK cross-cultural perspective. Colloque “ Les politiques de l’audiovisuel dans les pays anglophones / Film and Television Policies in English-speaking Countries ”, CinEcoSA (Cinéma, Economie & Sociétés Anglophones - Cinema, Economy in English-Speaking Countries), Oct 2013, Saint-Denis, France. halshs-01875396 HAL Id: halshs-01875396 https://halshs.archives-ouvertes.fr/halshs-01875396 Submitted on 18 Sep 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The meaning of ‘quality’ in feature Film policy selective aid scheme. A French/UK cross-cultural perspective. Pr. Frédéric Gimello-Mesplomb, University of Avignon, CNRS - EHESS (France) If papers analyzing the meaning of the concept of quality in common public policies are frequent, academic papers regarding quality and approaches to its assessment in film policies are atypical and relatively recent (Levaratto 2000; Ginsburgh 2003; Blomkamp 2011). Europe has a long tradition of state support for the film industry but with national and cultural differences regarding what kind of movies could benefit from the selective aid schemes.
  • The Impact of Food Consumption Patterns on Identity: the Case of Zimbabwean Inbetweeners Living in the UK

    The Impact of Food Consumption Patterns on Identity: the Case of Zimbabwean Inbetweeners Living in the UK

    The Impact of Food Consumption Patterns on Identity: The Case of Zimbabwean Inbetweeners Living in the UK Thomas Magede A thesis submitted in partial fulfilment of the requirements of the University of Wolverhampton for the Degree of Doctor of Philosophy February 2021 This work or any part thereof has not previously been presented in any form to the University or to any other body whether for the purposes of assessment, publication or for any other purpose (unless otherwise indicated). Save for any express acknowledgements, references and/or bibliographies cited in the work, I confirm that the intellectual content of the work is the result of my own efforts and of no other person. The right of Thomas Magede to be identified as the author of this work is asserted in accordance with ss.77 and 78 of the Copyright, Designs and Patents Act 1988. At this date, copyright is owned by the author. Signature: Thomas Magede Date: 15.03.21 Supervisory Team: Professor M. Haynes………………………… Dr J. Jones ……………………………………. i Abstract This study explores the concept of identity construction through food as exhibited by Zimbabwean inbetweener migrants in the UK. Literature was explored in relation to national identity, migration, consumer culture theory, consumer acculturation, diaspora theory, memory and nostalgia and food consumption and identity. The study used a qualitative research approach to address the issues under investigation. Interviews were used to collect data based on the understanding that food patterns and identity construction are context driven. The findings indicate that the food experiences of the Zimbabwean inbetweeners were specific to this group.
  • Bva Yearbook 2015 Yearbook Bva The

    Bva Yearbook 2015 Yearbook Bva The

    BVA YB15Full Cover 19/05/2015 14:10 Page 1 B VA Y E A R B O O K 2 0 1 5 THE BVA YEARBOOK 2015 PRICE: £599 iPad and PDF copies available for £999 from www.bva.org.uk British Video Association BVA YB15 Inside Cover 19/05/2015 14:07 Page 1 BVA YB 15 Inner AW 19/05/2015 14:11 Page 1 Contents FEATURES Chairman’s introduction 3 CEO’s foreword 4 Market overview 6 OWNERSHIP Video ownership 10 Consumer behaviour 11 Digital retail 13 DVDs 14 Blu-ray 15 Seasonality 16 Title of the year 18 New release 20 Catalogue 21 Film 22 Children’s 24 TV 26 Music 27 Sport and fitness 29 Special interest 30 RENTAL Rental overview 32 Rental consumer behaviour 33 Rental market share 34 HARDWARE Devices and screens 36 Directory 38 1 BVA YB 15 Inner AW 19/05/2015 14:11 Page 2 © 2015 Warner Bros. Entertainment Inc. All Rights Reserved. BVA YB 15 Inner AW 19/05/2015 14:11 Page 3 FEATURE Chairman’s introduction by Robert Price Chairman, British Video Association When I stepped into the exciting leadership strongly co-exist will be one of the BVA’s key role of BVA Chairman last year it was evident goals this year. As a trade body, we’re adapting that the home entertainment arena is in one and changing to ensure we collectively lead the of the greatest periods of evolution it has ever industry and maintain our resilience in the long seen. term. It’s more important than ever that we collaborate amongst ourselves and work closely As the mix between ownership and rental shifts, with retail partners to ensure we can empower the gap between physical and digital narrows and each other and create prominence both in and customer demand for greater flexibility and out of the entertainment aisles.
  • The Circulation of European Films Outside Europe Key Figures 2017 European Audiovisual Observatory (Council of Europe), Strasbourg, 2019

    The Circulation of European Films Outside Europe Key Figures 2017 European Audiovisual Observatory (Council of Europe), Strasbourg, 2019

    The circulation of European films outside Europe Key figures 2017 The circulation of European films outside Europe Key figures 2017 European Audiovisual Observatory (Council of Europe), Strasbourg, 2019 Director of publication Susanne Nikoltchev, Executive Director Editorial supervision Gilles Fontaine, Head of the Department for Market Information Authors Martin Kanzler, Film Analyst, Department for Market Information, [email protected] Patrizia Simone, Film Analyst, Department for Market Information, [email protected] European Audiovisual Observatory Proofreading Anthony A. Mills Press and Public Relations Alison Hindhaugh, [email protected] European Audiovisual Observatory Publisher European Audiovisual Observatory 76 Allée de la Robertsau, 67000 Strasbourg, France Tel.: +33 (0)3 90 21 60 00 Fax. : +33 (0)3 90 21 60 19 [email protected] http://www.obs.coe.int Cover layout – ALTRAN, Neuilly-sur-Seine, France Please quote this publication as Kanzler M., Simone P., The circulation of European films outside Europe - Key figures 2017, European Audiovisual Observatory, Strasbourg, 2019 © European Audiovisual Observatory (Council of Europe), Strasbourg, February 2019 Acknowledgements The Audiovisual Observatory would like to thank the EFARN network and all of our contacts in organisations across Europe who regularly provide us with the necessary data to keep our LUMIERE database up-to-date. This report was prepared with the support of the Creative Europe programme of the European Union. The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
  • A Study on Channel 4'S Station Identification: Focused on 'Modular

    A Study on Channel 4'S Station Identification: Focused on 'Modular

    http://dx.doi.org/10.7230/KOSCAS.2016.42.241 A Study on Channel 4’s Station Identification: focused on ‘Modular Typography’ I. INTRODUCTION 1. Background 2. Purpose and Scope 3. Theoretical Framework II. HISTORY OF CHANNEL 4 1. Establishment and Branding of Channel 4 2. Elements of Station IDs III. THE FIRST ICONIC '4' ID CONCEPT 1. Modular Typography IV. SUBSEQUENT ICONIC '4' ID CONCEPTS 1. Examples of Channel 4 IDs V. CONCLUSION Reference Abstract Adjah John · Hong, Mi-Hee 초 록 영국 TV 채널인 채널 4는 세계적으로 가장 유명한 채널 중의 하나다. 그 채널 4 의 스테이션 ID 역시, 스테이션 아이디를 포함한 모션 그래픽 발전에 선두적인 역 할을 해왔다. 이 스테이션 아이디의 메인 디자인 컨셉은 이 채널의 이름이자 동시 에 상징적인 채널 4의 로고 ‘4’이다. 채널 4 에서 처음으로 컴퓨터로 제작된 스테이션 아이디에는 모듈라 타이포그래 피가 사용되었다. 모듈라 타이포그래피는 글자를 비슷한 형태로 만들어내는 서체 디자인 기술인데, 채널 4의 스테이션 아이디는 컬러풀한 다각형으로 구성되어있다. 이 다각형들은 흩어졌다가 같은 3디 초점으로 모여든다. 또한 채널 4 스테이션 아 이디의 모듈 방식은 비슷한 다각형들로 증명된다. 첫 번째 스테이션 ID 이후, 채널 4는 브랜화되었다. 특히 2004년부터 2011년 사이의 채널 4 스테이션 아이디에서 채널 4의 모듈 타이포그래피 특징들이 많이 보인다. 아이콘 ‘4’는 돌, 건물, 빛 등의 자연적 환경과 인위적 환경으로부터 소재 를 갖고 온다. 이 논문에서는 채널 4의 역사, 첫 번째 스테이션 아이디와 그 이후 채널 4의 스테이션 아이디들에 적용된 모듈방식에 대한 시각적인 묘사가 포함되어 있다. 키워드: 모듈 타이포그래피, 스테이션 아이디, 채널 4 241 I. INTRODUCTION 1. Background Station Identification, popularly know as station ID is a practice of television or radio stations to identify their networks on air1).