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CE50 – 2018 Foreword Caroline Norbury MBE
CE50 – 2018 Foreword Caroline Norbury MBE Creative England Chief Executive It is my pleasure to introduce to you the CE50 industry tool. Previous CE50 companies have 2018. The people and businesses featured in this gone on to receive BAFTA nominations, opened book are at the very forefront of creativity. Through international offices, revolutionised the way western their work – be it games, film or TV productions, products are sold to the Chinese market, and interactive platforms or immersive experiences – received the prestigious Nora Ephron prize at the they produce the original ideas, the entertaining Tribeca Film Festival. This year’s cohort highlights content and the innovations which make this the move towards technology and creativity country truly world-leading in the creative industries. merging to create meaningful solutions to real-world problems, with many of the companies championing The creative sectors are a cornerstone of the UK’s diversity, giving a platform to unheard voices and economy and key to driving future growth and benefitting the wider industry. prosperity. They are worth £92bn in GVA and are outgrowing the wider economy by twice the rate. This year we have also included businesses that They employ 2m people – over 3m in the wider focus on improving the environment for creative creative economy when we count non-creative businesses – such as Platform in Stoke-on-Trent roles – and make over £21bn in service exports. who are building a cluster programme for creative entrepreneurs and InnovateHer who seek to improve Those exceptional statistics are being driven the gender balance of the tech sector. by the talented creative minds like those included in this year’s CE50 – those who continue to look Our job at Creative England is to ensure that at new ways of doing things, whether that’s the voices of our country’s creators and innovators bringing fresh ideas and perspective into the craft have the opportunity to be heard, and that they of storytelling, designing platforms that adopt are given the right support to build their businesses. -
Creative England's Filming Partnership Toolkit
Creative England’s Filming Partnership Toolkit Flamborough, East Yorkshire © VisitEngland, Iain Lewis Why is Filming Important? In 2014, film production was worth £1.47 billion to UK GDP and created thousands of full-time equivalent jobs. Creative England’s involvement includes bringing together England-wide world-class locations, studios, facilities and crew to support this thriving industry. Our work ensures production companies can deliver Creative England is able to calculate the average amount Contents a successful shoot in the English regions. We deliver production spends when filming on location. With a professional on-the-ground support and a film friendly television production’s estimated spend of £17,000 - welcome to attract high profile production to England. £19,000 per day on local employment and services, and a 2 About Creative England & our Filming Partners These interventions also deliver long term benefits from major feature film around £32,000, the benefit to the local 3 Why is Filming Important? profiling England around the globe as a premier visitor economy is clear. destination. 3 Why do we gather statistics from Filming Partners? 4 A Case Study – ITV’s Broadchurch 5 Promoting Locations “In 2014, film production was worth 6 Facilitating Filming About our Filming 6 Consent vs Permits £1.47bn to UK GDP and created 6 Road Closures, Temporary Traffic Regulations Orders Partners and Parking Bay Suspensions. thousands of full-time equivalent jobs.” 6 Costs vs Fees Creative England’s Filming Partners are made up of Local Authority and other public sector organisations 7 Ways to Maximise Returns from Productions committed to supporting the facilitation of filming in the Why do we gather statistics from Filming Partners? 7 Contracts regions. -
Guidelines for Applicants 2019
GUIDELINES FOR APPLICANTS 2019 SUBMISSION DEADLINE 9am on Friday 29 March 2019 1 These guidelines are to assist submissions to iFeatures. They should be read in conjunction with our FAQs, available for download at ifeatures.co.uk/apply-now WHAT IS iFEATURES? iFeatures is a premier UK filmmaking programme, driving the development of low- budget high-quality debut features and realising the talent of the next generation of filmmakers. Our aim is to produce the most outstanding, daring and distinctive storytellers in the UK, by giving them the tools and the support to experiment, develop their voice, and create contemporary films that speak to a world audience. iFeatures is run by Creative England and supported by the BFI, awarding funds from the National Lottery, BBC Films and the ScreenSkills Film Skills Fund with contributions from UK film productions. iFeatures offers a unique opportunity to explore and realise your vision. In addition to funding the development of projects, selected teams will take part in an intensive, exploratory Lab programme which will include dedicated support, access to industry and networks, as well as mentoring and high-level training with established industry professionals. The programme has evolved to focus on a dedicated period of development for 12 projects and teams, with each receiving bespoke support as they work towards market engagement. Following the programme, BFI and BBC Films have committed to ensuring that at least three of the projects progress to production. The 2019 round opened for applications on Friday 8 March 2019; the submission process will close on Friday 29 March at 9am. -
Celebrating 40 Years of Commercial Radio With
01 Cover_v3_.27/06/1317:08Page1 CELEBRATING 40 YEARS OF COMMERCIAL RADIOWITHRADIOCENTRE OFCOMMERCIAL 40 YEARS CELEBRATING 01 9 776669 776136 03 Contents_v12_. 27/06/13 16:23 Page 1 40 YEARS OF MUSIC AND MIRTH CONTENTS 05. TIMELINE: t would be almost impossible to imagine A HISTORY OF Ia history of modern COMMERCIAL RADIO music without commercial radio - and FROM PRE-1973 TO vice-versa, of course. The impact of TODAY’S VERY privately-funded stations on pop, jazz, classical, soul, dance MODERN BUSINESS and many more genres has been nothing short of revolutionary, ever since the genome of commercial radio - the pirate 14. INTERVIEW: stations - moved in on the BBC’s territory in the 1960s, spurring Auntie to launch RADIOCENTRE’S Radio 1 and Radio 2 in hasty response. ANDREW HARRISON From that moment to this, independent radio in the UK has consistently supported ON THE ARQIVAS and exposed recording artists to the masses, despite a changing landscape for AND THE FUTURE broadcasters’ own businesses. “I’m delighted that Music Week 16. MUSIC: can be involved in celebrating the WHY COMMERCIAL RadioCentre’s Roll Of Honour” RADIO MATTERS Some say that the days of true ‘local-ness’ on the UK’s airwaves - regional radio for regional people, pioneered by 18. CHART: the likes of Les Ross and Alan Robson - are being superseded by all-powerful 40 UK NO.1 SINGLES national brands. If that’s true, support for the record industry remains reassuringly OVER 40 YEARS robust in both corners of the sector. I’m delighted that Music Week can be involved in celebrating the RadioCentre’s 22. -
TALENT DEVELOPMENT GUIDELINES for EMERGING FILMMAKING TALENT About BFI NET.WORK and the Talent Centres What Can I Apply
TALENT DEVELOPMENT GUIDELINES FOR EMERGING FILMMAKING TALENT These guidelines relate to our support for emerging filmmaking talent - writers, directors and writer/directors who have some professional experience and whose work has already garnered positive industry and/or public attention but who have yet to make a feature film.1 Please read them carefully before submitting your application. For information on our support for new talent and other Creative England film opportunities, please visit www.creativeengland.co.uk/film About BFI NET.WORK and the Talent Centres BFI NET.WORK is a key initiative to support promising writers, directors and producers from the nations and regions of the UK and is central to the British Film Institute’s strategy, detailed in its Film Forever five year plan, to discover and support the next generation of UK feature filmmaking talent, no matter where they live. Find out more about BFI NET.WORK at http://network.bfi.org.uk/ As part of its contribution to BFI NET.WORK, Creative England has partnered with the BFI to set up the Talent Development team led by dedicated, connected and highly experienced senior executives, Celine Haddad and Paul Ashton. Celine and Paul, together with their development executives, actively seek writers, directors and artists with feature filmmaking potential, providing funding for feature film development, short films and pilots as well as more bespoke support, depending on the needs of the project and the talent attached to it. The Talent Development team will work with emerging talent from across England including filmmakers from London, and will also run short film schemes and other initiatives aimed at new filmmakers from outside the capital. -
Submission to Ofcom's Consultation: Public Service Content in A
Submission to Ofcom’s consultation: Public Service Content in a Connected Society February 2015 Executive Summary • Economically and culturally, the English regions are underserved by the PSB system. Creative England calls for Ofcom to ensure PSB value is distributed more equitably across the country. • For Creative England, there are three notable trends outlined in Ofcom’s consultation document. Firstly; the observation of a growing generation gap, with younger and older people’s consumption habits increasingly differentiated across many communications media. Secondly; that audiences want to see original and innovative programming, but appear to feel that the PSBs are duplicating successful programme ideas and formats, potentially at the expense of more original, innovative and challenging programming. Thirdly, the observation that only 46% of people across the UK are satisfied that the PSB system delivers programmes that show different kinds of cultures within the UK. • Audiences in the Wales, Scotland and Northern Ireland enjoy a range of non- network, non-news or current affairs programming that represent their distinct national and cultural identities. Much of this output is later reflected to a UK-wide audience through the core PSB networks. In contrast there is very little non-network, non-news or current affairs spend and output aimed specifically at audiences in England. It is a widely accepted view that the unique identities of audiences in Wales, Scotland and Northern Ireland are growing in importance. We believe the same is true of England. • Creative England is concerned that the West Midlands, the East Midlands and the East of England now collectively account for only 2% of all PSB Network production expenditure. -
FREQUENTLY ASKED QUESTIONS We Hope These Are Useful and May
FREQUENTLY ASKED QUESTIONS We hope these are useful and may issue updates throughout the submissions period. If you can’t find an answer here or in our iFeatures guidelines, please contact [email protected] ELIGIBILITY I live in London / Scotland / Wales / Northern Ireland. Can I apply? I’m a first-time filmmaker. Can I apply? Can I apply as an individual? Can individuals apply with more than one project? I’m an individual writer/director/producer looking for some collaborators to apply with. Can you help? SUBMISSIONS Are you looking for a particular genre or type of story? Our story is not set in the UK. Can we submit? Our script is not in English. Can we apply? We have an idea that has already been developed to script. Can we submit? I am a director. Should I send you a DVD of my showreel as part of our submission? Our project is a feature-length documentary. Can we submit? We do not have the rights to the project we wish to apply with. Can we submit? I have previously submitted a project to iFeatures, Creative England and/or the British Film Institute. Can I apply? MISCELLANEOUS When will we know if our submission has been successful? How much time commitment will iFeatures demand from filmmaking teams? How will the professional development programme work? How will the development award be spent? Apart from the award, how will story/script development be supported? What happens if one or several of our filmmaking team leave the project along the way? What are the recoupment expectations for development awards? How flexible is the low-budget bracket for projects? What will happen at the conclusion of iFeatures? iFeatures FAQ 1.0 1 ELIGIBILITY I live in London / Scotland / Wales / Northern Ireland. -
Bradford City of Film Report 201
1. EXECUTIVE SUMMARY Bradford is the world’s first UNESCO City of Film. This permanent title bestows international recognition on Bradford as a world centre for film because of the city’s rich film heritage, its inspirational movie locations and its many celebrations of the moving image through the city’s film festivals, filmed related events and unique approach to learning about film and learning with film. Bradford has a long history associated with film and filmmaking dating back to the birth of cinema and has long been acknowledged by the film industry as a film-friendly city. Bradford is a key location for film and TV production. In addition to the city’s film heritage credentials Bradford also boasts a number of key film festivals, film related events and masterclasses. Bradford UNESCO City of Film continues to develop more opportunities for people to enjoy film and celebrate the city’s diversity through film. Bradford lies at the heart of the stunning Yorkshire region, the United Kingdom’s premier location for shooting movies and moving images. Bradford is located at the gateway to three scenic national parks, with mountains and moors, castles, stately homes and ancient villages. The city has its own rich architectural tradition including Saltaire, a preserved but functioning town dating back to the industrial revolution, which is now a UNESCO World Heritage Site. Home to some of the earliest pioneers of cinema and the celebrated location of many classic films, Bradford can trace a proud and accomplished film heritage. Bradford’s cinema history can be traced back to the 1890s. -
Can the Justice System Adequately Rectify Wrongful Convictions for Historical Sexual Abuse?
CAN THE JUSTICE SYSTEM ADEQUATELY RECTIFY WRONGFUL CONVICTIONS FOR HISTORICAL SEXUAL ABUSE? A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2020 NAOMI-ELLEN J. SPEECHLEY School of Social Sciences Department of Criminology Table of contents Abstract .................................................................................................................................... 4 Introduction .............................................................................................................................. 7 CHAPTER ONE: Wrongful Convictions and Post-Conviction Investigation .......................... 11 Introduction ...................................................................................................................................... 11 Part 1: ‘Wrongful Convictions’, ‘Miscarriages of Justice’ and ‘Unsafe Convictions’ ......................... 12 Part 2: How and by whom is a conviction reviewed? ....................................................................... 16 Part 3: Alternative post-conviction casework approaches: pro bono and campaigning groups ...... 26 Part 4: Applying ‘interested’ and ‘disinterested’ approaches to historical sexual abuse cases ....... 34 Chapter Summary ............................................................................................................................ 41 CHAPTER TWO: Particular Difficulties Pertaining to Historical Sexual Abuse Cases ......... 42 Introduction ..................................................................................................................................... -
(Including Non Recent and Current Child Sexual Abuse (CSA) Cases) – Updated on 25 February 2016
Official Sensitive – Investigations- NOT FOR ONWARD CIRCULATION <redacted> Current CSE investigations and trials (including non recent and current child sexual abuse (CSA) cases) – updated on 25 February 2016 This week’s update Operation Police force area Description Current position name Operation Greater Following the following the 2011 investigation into child sexual exploitation in Operation ongoing. Doublet Manchester Police Rochdale, GMP identified a number of cases, which broadly took place between 2004 and 2008, across Greater Manchester where teenage girls were being sexually exploited by older men. On 24 February, three men and two women were found guilty of multiple child sexual exploitation offences against 15 young girls in Rotherham between 1987 and 2003. AT the On 4 February ten men were found guilty of a range of serious sexual offences beginning of the trial an additional man pled guilty to multiple during two trials. The convictions relate to offences committed against eight victims offences. Two men were acquitted of all charges. who were aged between 13 and 23 at the time of the abuse. All men bar one who remains wanted, have been remanded to appear for sentencing on the Thursday 7 and Friday 8 April 2016. Sentencing will take place on Friday 26 February. Page 1 of 16 Official Sensitive – Investigations- NOT FOR ONWARD CIRCULATION <redacted> CSA and CSE TRIALS Operation Police force area Description Current position name OPERATION NCA A trial at Mold Crown Court under Operation Pallial, led by the NCA. A former A further trial began on Monday 11 January of two men. The PALLIAL professional wrestler was at the heart of a "predatory" paedophile ring that abused charges relate to child cruelty and assault at the Bryn Alyn Hall – young boys at sex parties in the 70s and 80s. -
160712 BFI Annual Report and Financial Statements 2015-16
BRITISH FILM INSTITUTE GROUP AND LOTTERY ANNUAL REPORT AND FINANCIAL STATEMENTS 2015‐16 HC 427 SG/2016/100 BRITISH FILM INSTITUTE Group and Lottery Annual Report and Financial Statements for the year ended 31 March 2016 Presented to Parliament pursuant to Section 34(3) and 35(5) of the National Lottery etc. Act 1993 (as amended by the National Lottery Act 1998 and the National Lottery Act 2006). ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 14 JULY 2016 Presented to the Scottish Parliament pursuant to the Scotland Act 1998 Section 88 Charity Registration no: 287780 HC 427 SG/2016/100 © BRITISH FILM INSTITUTE (2016) The text of this document (this excludes, where present, the Royal Arms and all departmental and agency logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context. The material must be acknowledged as British Film Institute copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries regarding this publication should be sent to us at: [email protected]. You can download this publication from our website at www.bfi.org.uk. Print ISBN 9781474134910 Web ISBN 9781474134927 Printed in the UK by The Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery ID 2818161 07/16 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the Williams Lea Group on behalf of the Controller of Her -
John Myers Alan Robson John Whitney Nick Ferrari Phil Riley Simon Cole Chris Tarrant Neil Fox Moz Dee Deanna Hallett Quentin Ho
PHILIP BIRCH LORD (JIMMY) TIM BLACKMORE DEANNA HALLETT NEIL FOX JOHN PERKINS AVTAR LIT QUENTIN HOWARD DEE FORD MARK STORY Was Managing Director of Radio GORDON Was a Radio One producer before First ventured into radio while Was, for 18 years, one of Capital Was managing director of the Is the owner and chairman of Was the industry’s youngest ever Was appointed managing director Began his radio career at RTE, London, the pirate radio station Launched Radio Clyde as becoming Head of Programmes at NOP Market Research where Radio’s most popular DJs. As host Independent Radio News for 20 Sunrise Radio Group which chief engineer at Severn Sound of Preston-based Rock FM in 1994 moving to Capital Radio as whose business model became the Managing Director on Hogmanay at Capital Radio in 1977. He was she worked with the first wave of the Evening Surgery programme years until 2009. He began his he founded in 1989 to apply, before moving to the GWR Group, after joining the Radio City sales producer of Chris Tarrant’s template for the early commercial 1973. Acquiring other radio stations, appointed as the first Director of of consortia applying to operate he became ‘Dr Fox’, a name which radio career with Radio City in successfully, for one of the where he pioneered the use of CDs team in 1987. One of commercial breakfast show. In 1990 he joined radio stations. After the closure of he formed Scottish Radio Holdings the Radio Academy in 1987 before commercial stations. She was stuck through 7 years hosting drive Liverpool at its launch in 1974, joining first incremental radio licences in and digital playout systems.