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Best Practices Re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean
Best Practices re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean Draft Report on World Best Practices in Legislation, Regulatory Regimes and Incentives Juillet 2009 Best Practices re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean Contrat Nr: 042/2009/WP2/ Project no 28.1-1.048 Cariforum Region By : Yvon Thiec Fernando Labrada Submitted by Altair Asesores S.L. Les opinions exprimées dans ce rapport n’engagent que les auteurs et ne reflètent pas nécessairement celles de la Commission Européenne / The Views expressed in this report do not necessarily reflect the views of the European Commission TABLE OF CONTENTS Executive Summary ........................................................................... 3 I. Foreword ..................................................................................... 7 II. Introduction: Audiovisual regulation for cinema and television programs ........................................................................................ 11 III. The origin of audiovisual regulation ............................................ 13 IV. Quota requirements ................................................................. 15 1. Quota Requirements for theatrical exhibition ............................ 15 1.1. International rules related to quota requirements for theatrical exhibition .................................................................................. 15 1.2. Application of quota requirements for theatrical exhibitions in Western -
Impact Budgets Classic Engagement Activity Evaluation Toolbox
INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING 1.0 2.0 3.0 4.0 5.0 INTRODUCTION PLANNING IMPACT IMPACT EVALUATING IN ACTION DISTRIBUTION Welcome Why vision & strategy matter Equipping for impact What is impact distribution? We love evaluation The power of film Defining your vision The role of film teams How commercial are impact films? What makes great evaluation Analysing the story environment Developing your strategy Meet the impact producer Types of distribution deals Embracing complexity How change happens Map the issue Consider your subjects Review distribution pathways Making your evaluation plan The challenge for filmmakers The 4 impact dynamics Writing impact budgets Classic engagement activity Evaluation toolbox Know thyself Draft your strategic plan Finding impact funders Impact distribution at work New tools for impact documentary Making impact partners Sign on the dotted line Wrapping up INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING PDF • CL LE ICK AB A K BL IC E L P C Use the top D F • and side • F tabs to navigate D P C through! L E I L C B K A A K B C L I E L C P D F • Please don’t print me! IMPACTGUIDE.ORG Get the printable version INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING A set of tools and guides designed to help all of us who are working with film make even greater impact than we do already. Brought to you by: Made possible by: britdoc.org fordfoundation.org | berthafoundation.org | sundance.org | knightfoundation.org -
Provision of VOD Access Services: 2012 Report
Provision of Video on Demand Access Services - 2012 Report - A report on the level of provision by On Demand Programme Service providers of subtitling, audio description, signing and other services for people with disabilities relating to sight or hearing or both Published 28 November 2012 The Authority for Television On Demand Limited Registered in England and Wales No. 5137314 Provision of Video On Demand Access Services: 2012 Report 2 Contents Executive Summary……………………………………….…. Page 3 Introduction .......................................................................... Page 4 The Questionnaire................................................................. Page 4 The Responses ..................................................................... Page 5 Services for people with disabilities relating to hearing….. Page 6 Services for people with disabilities relating to sight……... Page 9 Platform capabilities……………………………………….......... Page 10 Barriers to provision of access services…………………..... Page 11 Next steps .............................................................................. Page 12 Annex 1: The questionnaire ................................................ Page 13 Annex 2: List of providers asked to respond……..…….. Page 18 The Authority for Television On Demand Limited Registered in England and Wales No. 5137314 Provision of Video On Demand Access Services: 2012 Report 3 Executive Summary As part of ATVOD’s duty to encourage services providers to make their On Demand Programme Services (“ODPS”) more accessible to people with disabilities affecting their sight or hearing, ATVOD conducts an annual survey of current levels of provision of such ‘access services’. The first such report was published in November 2011. This report details the responses we received to our second major survey of regulated service providers which closed on 21 September 2012. ATVOD invited all providers of ODPS to indicate the scale of provision of each type of access service, together with any future plans for access service provision. -
STRANGER by the LAKE Bfi.Org.Uk CONTENTS
INSIGHT REPORT STRANGER BY THE LAKE bfi.org.uk CONTENTS CHAPTER ONE: INTRODUCTION 3 CHAPTER TWO: PLANNING AND RELEASE 6 CHAPTER THREE: REVENUES AND BENEFITS 10 CHAPTER FOUR: OVERALL CONCLUSIONS 16 INTRODUCTION The following report analyses the near day-and-date release by Peccadillo Pictures of French thriller Stranger By The Lake. The report, supported by the New Models strand The results were supplemented by a survey of of the BFI Distribution Fund, sought to answer the Peccadillo’s Facebook and membership email lists, following questions: which resulted in another 140 questionnaires being completed. • What are the advantages or disadvantages for releasing Stranger By The Lake on VOD at the same Industry data: The report uses data from a number of time as cinemas? sources to provide objective analysis of performance, and to provide useful comparisons. Data includes • How do the VOD platforms affect cinema going? theatrical box office results and sales information, • And how does a VOD offer so close to the cinema supplied by Peccadillo. The analysis of this kind of release date affect consumer demand? day-and-date releases are also increasingly informed by knowledge acquired from the Insight Reports from the series of releases supported by the BFI’s 1.1 METHODOLOGY New Models fund. The study relied on evidence from a number Analysis: The conclusions are based on a study of sources: of all the sources of data and interviews with key stakeholders. The expectations and perceptions of Exit Polls: Four exit polls of 117 people were carried performance from the distributor Peccadillo were out at Bristol, London, Cambridge and Manchester, discussed before and after the film. -
Channel 4 and British Film: an Assessment Of
Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens. -
A Field in England
INSIGHT REPORT A Field In England bfi.org.uk 1 Contents Introduction 3 Executive Summary 4 Section One: Overview 5 Section Two: Planning and Execution 6 Section Three: Results 9 Section Four: Conclusions 14 2 INTRODUCTION The following is the report on the DAY AND DATERELEASEOFA Field In England. It uses a wide range of data to measure performance on all platforms, and tries to address the key questions about the significance of the release. A Field In England was released on 5 July 2013 The conclusions are based on an objective view on cinema screens, DVD, VOD and free terrestrial of the data, interviews both before and after broadcast on Film4. the film’s release, and on experience of the UK distribution and exhibition market. The BFI Distribution Fund supported the release of the project with £56,701, which contributed The report evaluates the performance of an to a P&A spend of £112,000. The total production individual film but it also tries to explain the budget was £316,879. context of the release and to suggest lessons for other films trying similar strategies. This report uses a number of measures to assess the success of the release: s "OXOFFICEREPORTSDAILYFOROPENING weekend, weekly thereafter) s /PENINGWEEKENDEXITPOLLSFROM&IRST-OVIES )NTERNATIONALFOR0ICTUREHOUSECINEMA s $6$"LU 2AYSALES/PENINGWEEKEND s 4ELEVISIONRATINGS s /NLINEMONITORING"RILLIANT.OISEFOR Picturehouse Cinemas) 3 EXECUTIVE SUMMARY sA Field In EnglandISANEXPERIMENTAL GENRE s4HEPRIMARYAUDIENCEWAS!"#n YEARS busting film set in the English Civil War OLD ANDFREQUENTCINEMAGOERSINTHE ANDDIRECTEDBY"EN7HEATLEYDown Terrace, bracket, who might have already been aware Kill List, Sightseers). of Wheatley’s work. -
Egta Insight Over-The-Top Television Services: a European Perspective March 2015
egta insight over-the-top television services: a european perspective March 2015 Celebrating www.egta.com / / Defining OTT services In the field of audiovisual services, egta has cho- sen to work with the following definition for OTT: services accessible over the Internet via specific applications (on PCs, mobile apps, Smart TVs, games consoles or through hybrid boxes). This report considers OTT platforms and services that exclusively offer premium television pro- gramming and/or movies. Services such as You- Tube, Dailymotion and other video sharing sites do not form part of this report, although it should be noted that YouTube in particular has taken on some of the characteristics of a premium OTT service in the past couple of years, developing executive summary a presence in set-top boxes and other devices, offering some original, professionally produced, content and live streaming of sports and music events. This report addresses the landscape of over- the-top (OTT) television services, with an em- / / Overview of linear and non- phasis on the most digitally advanced Euro- linear services in Europe pean markets. The evolution of OTT subscribers and revenues is also placed into a wider global OTT services exist in a variety of forms context. egta’s objective is to allow readers to throughout Europe, with different funding and better understand the strategies of different business models in place. Broadly speaking they stakeholders in the delivery of OTT, including the can be classified as seen on the opposite page, response of broadcasters to evolving viewing with examples of each type listed in figure 01. -
Channel Four Television Corporation Report and Financial Statements 2012
Channel Four Television Corporation Report and Financial Statements 2012 Incorporating the Statement of Media Content Policy Presented to Parliament pursuant to Paragraph 13(1) of Schedule 3 to the Broadcasting Act 1990 The paper used in this publication is sourced from responsibly managed forests and is a FSC certified material. Printed in the UK by a FSC and ISO 14001 certified printer. © Channel Four Television Corporation copyright 2013. The text of this document (this excludes, where present, 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 Channel Four Television Corporation copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. This document is available for download from www.official-documents.gov.uk and from www.channel4.com/annualreport Table of contents Channel 4 remit 04 Chairman’s statement 06 Chief Executive’s statement 08 2012 highlights 10 Statement of Media Content Policy Financial Report and Statements Investing in creativity 12 Report of the members 110 Investing in data 16 Independent auditor’s report 122 Investing in the Paralympics 18 Consolidated income statement 124 Doing things the Channel 4 way 30 Statement of changes in equity 125 Factual 42 Balance sheets 126 Film & drama 52 Cashflow statements 127 News & current affairs 60 Significant accounting policies 128 Comedy & entertainment 72 Notes to the financial statements 135 Education & older children 80 Corporate governance 168 Engaging the audience 86 Members 179 Thank you 92 Report on members’ remuneration 183 Awards 94 Programmes and the licence 188 Looking forward 99 Historical record 191 Assurance report 108 4 CHANNEL 4 REMIT Why we do what we do Channel 4’s guiding light is its remit, as laid out in legislation by Parliament. -
World Wide Best Practices in Legislation, Regulatory Regimes and Incentives for the Audiovisual Industry
World Wide Best Practices in Legislation, Regulatory Regimes and Incentives for the Audiovisual Industry June, 2009 World Wide Best Practices in Legislation, Regulatory Regimes and Incentives for the Audiovisual Industry DRAFT Project number : WP 2/281.1-1.048 Region: CARIFORUM By Yvon Thiec Submitted by Altair Asesores Les opinions exprimées dans ce rapport n’engagent que les auteurs et ne reflètent pas nécessairement celles de la Commission Européenne / The Views expressed in this report do not necessarily reflect the views of the European Commission 2 ACKNOWLEDGEMENTS The expert thanks his team for constant help, patience and competence: Ms. Segolène Mariotte (research fellow), Mrs. Fabienne Burton (administration). Special thanks to Mr. Thierry Forte for data on Latin America, to the European Audiovisual Observatory for data on European Market, to Mrs. Jacqueline Medio-Madiot for information and advices on ACP cultural development and cultural policies, and to various stakeholders in CARIFORUM countries for substantive discussion during my study trip in May 2009 3 Report on World Wide Best Practices in Legislation, Regulatory Regimes and Incentives. Table of contents Foreword 1. Introduction: Audiovisual regulation for cinema and television programs 2. Origin of audiovisual regulation 3. The quotas requirement 3.1 Quota requirements for theatrical exhibitions 3.2 Quota requirements for broadcasting 3.3 Financial interest and syndication rules and Prime Time Access Rule 4. Broadcasters’ investment in audiovisual and film production 4.1. Background 4.2. Legal sources and instruments for investment by broadcasters in content programs 4.2.1. Obligations for broadcasters to invest in cinematographic films are based on a range of different instruments 4.2.1.1. -
On-Demand Audiovisual Markets in the European Union
ON-DEMAND AUDIOVISUAL MARKETS IN THE EUROPEAN UNION FINAL REPORT A study prepared for the European Commission DG Communications Networks, Content & Technology by Digital Agenda for Europe This study was carried out for the European Commission by European Audiovisual Observatory, 76 Allée de la Robertsau, 67000 Strasbourg, France Authors: Director of publication: Susanne Nikoltchev, Executive Director, European Audiovisual Observatory Supervision: André Lange, Head of Department for Information on Markets and Financing, European Audiovisual Observatory Author: Christian Grece, Analyst at the European Audiovisual Observatory Preparatory notes: Lorenzo Principali, Analyst at the European Audiovisual Observatory Internal identification Contract number: 30-CE-0520606/00-86 SMART number: 2012/0026 DISCLAIMER By the European Commission, Directorate-General of Communications Networks, Content & Technology. The information and views set out in this publication are those of the author(s) and do not necessarily reflect the official opinion of the Commission nor of the European Audiovisual Observatory, its members or of the Council of Europe. The Commission does not guarantee the accuracy of the data included in this study. Data compiled by external sources are quoted for the purpose of information. The author of this report is not in a position to verify either their means of compilation or their pertinence. Neither the Commission nor any person acting on the Commission’s behalf may be held responsible for the use which may be made of the information contained therein.. ISBN 978-92-79-38425-7 DOI 10.2759/51823 © European Union, 2014. All rights reserved. Certain parts are licensed under conditions to the EU. Reproduction is authorised provided the source is acknowledged. -
Review of Channel 4 Corporation's Delivery of Its Media
Review of Channel 4 Corporation’s delivery of its media content duties (2010 – 2013) C4C’s performance in meeting its media content duties introduced by the Digital Economy Act 2010 Consultation Publication date: 15 December 2014 Closing date for responses: 26 February 2015 About this document This document reviews the extent to which Channel 4 Corporation has delivered its media content duties, as introduced by the Digital Economy Act in 2010. These duties apply across its full range of services: its TV channels, on-demand and online services, and Film4 Productions. The duties include, but are not limited to, making a broad range of relevant media content that appeals to a culturally diverse society, the making of high quality films, the broadcasting and distribution of such content and films and supporting creative talent. Ofcom is consulting on its Review of Channel 4 Corporation’s delivery of its media content duties and Ofcom’s provisional findings. We expect to publish a final statement in summer 2015. Contents Section Page 1 Executive summary 3 2 Summary of key findings 6 3 Background to the review 13 4 C4C’s overall performance 16 5 Analysis by genre 40 6 C4C’s delivery of non-content-focused duties 68 7 Consultation 71 Annex 1 The legal and regulatory framework for the review 72 2 Methodology and approach 75 3 Evidence assessing C4C’s delivery of its media content duties (2010-2013) 83 2 Section 1 1 Executive summary 1.1 Channel 4 Corporation (C4C) was created as a public institution in 1982. Its flagship service, Channel 41, has a public service remit. -
Magazine Media
FEBRUARY 2014: THE CASE STUDY ISSUE edia agazine Menglish and media centre issue 47M | february 2014 Selling GOOGLE Youth GLASS Educating Elysium and the Yorkshire decline of a genre A Field in GTAV & England Mario Kart Wii MM MM47 coversFINAL.indd 1 04/02/2014 13:07 MM This magazine is not to be photocopied. Why not subscribe to our web package which includes a downloadable and printable PDF of the current issue or encourage your students to take out their own £12 subscription? Spring half-term already, and time to think MediaMagazine is published by the ahead to what you’ll be facing exams-wise English and Media in a few months time. So to give you a steer Centre, a non-profit on ways this issue of MediaMag could help making organisation. you out (as well as entertaining and inspiring The Centre publishes a you, of course!) we’ve provided you with case wide range of classroom studies galore. There should be something for everyone and food for materials and runs thought whichever course you’re following. courses for teachers. If you’re studying English David Buckingham leads with a masterly overview of the ways young at A Level, look out people are wooed by, competed for, represented in, and sold to by for emagazine, also advertisers and marketers – a must-read case study no matter which published by the Centre. exam you’re studying for. The same for Steph Hendry’s ‘how to’ piece The English and Media Centre on what makes a successful case study, full of tips and guidance on 18 Compton Terrace honing your focus, how to evaluate sources of information, and research London N1 2UN processes.