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Gb 1456 Thomas
GERALD THOMAS COLLECTION GERALD THOMAS COLLECTION SCOPE AND CONTENT Documents relating to the career of director GERALD THOMAS (Born Hull 10/12/1920, died Beaconsfield 9/11/1993). When Gerald Thomas died, his producer partner of 40 years Peter Rogers said: ‘His epitaph will be that he directed all the Carry On films.’ Indeed, for an intense 20-year period Thomas directed the Carry On gang through their innuendo laden exploits, and became responsible, along with Rogers, for creating one of the most enduring and endearing British film series, earning him his place in British popular culture. Thomas originally studied to become a doctor, before war service with the Royal Sussex Regiment put paid to his medical career. When demobilised in 1946, he took a job as assistant in the cutting rooms of Two Cities Films at Denham Studios, where he took Assistant Editor credits on Laurence Olivier’s Hamlet (1948) and the John Mills thriller The October Man (1947). In 1949, he received his first full credit as editor, on the Margaret Lockwood melodrama Madness of the Heart (1949). During this time Peter Rogers had been working as associate producer with his wife, producer Betty Box, on such films as It’s Not Cricket (1949) and Don’t Ever Leave Me (1949). It was Venetian Bird in 1952 that first brought Thomas and Rogers together; Thomas employed as editor by director brother Ralph, and Rogers part of the producer team with Betty Box. Rogers was keen to form a director/producer pairing (following the successful example of Box and Ralph Thomas), and so gave Gerald his first directing credit on the Circus Friends (1956), a Children’s Film Foundation production. -
A New Methodology for Feature Film Production in Australia
EMBRACING INNOVATION: A NEW METHODOLOGY FOR FEATURE FILM PRODUCTION IN AUSTRALIA When this paper was first written by Robert Connelly and produced by David Court and Allan Cameron (AFTRS ), there was much discussion in the industry about business models. We believe this document continues to present critical dicsussion points for content creators about feature film distribution and specifically how important it is to consider audience within your business model. A new methodology for feature film production in Australia The AFTRS Centre for Screen Business is pleased to introduce Robert Connolly’s new paper on the Australian film industry. Robert has put together a bracing analysis of the challenges and opportunities facing this sector, based upon his own experience and on research covering overseas industries. The paper consists of two main parts, as follows: Part 1: Why do we need a new methodology? In this section, Robert offers an overview of the feature film industry, including the opportunities for innovation and the entrenched practices that he believes are holding it back. Part 2: Key issues and proposed changes Here, Robert cuts to the main areas of concern. He puts together a list of 10 constructive proposals designed to move the industry forward. These are: 1. Create positive incentives 2. Allow a first dollar share for filmmakers 3. Offer cast and crew a realistic share of returns 4. Base fees on value and experience, not on percentages 5. Match budget models to projects, markets and personnel 6. Match cast fees to marketplace investment 7. Adapt insurance requirements to reflect the scale of the project 8. -
NOS Template Landscape
National Occupational Standards Production (Film and TV) National Occupational Standards TABLE OF CONTENTS INTRODUCTION 5 PRODUCTION PROCESS 6 CORE STANDARDS BY AREA OF COMPETENCE 8 SECTORAL USE 10 FILM AND TELEVISION PRODUCTION STANDARDS FORMAT 12 SUPPORTING SUITES 13 P1 GENERATE IDEAS FOR A FILM OR TELEVISION PRODUCTION 14 P2 SECURE CONTENT FOR A FILM OR TELEVISION PRODUCTION 16 P3 DELIVER A SCRIPT FOR FILM OR TELEVISION PRODUCTION 17 P4 CONTRIBUTE TO THE DRAFTING OF SCRIPTS, CUES, LINKS OR WRITTEN CONTENT IN TELEVISION PRODUCTION 18 P5 SECURE FINANCIAL RESOURCES FOR THE FILM OR TELEVISION PRODUCTION 20 P6 IDENTIFY AND NEGOTIATE COPYRIGHT ISSUES 22 P7 CLEAR COPYRIGHT MATERIALS 23 P8 ENSURE COMPLIANCE WITH REGULATIONS AND CODES OF PRACTICE 25 P9 ASSESS THE VIABILITY OF THE PROJECT IN CONJUNCTION WITH DISTRIBUTORS AND SALES AGENTS 28 P10 RESEARCH IDEAS FOR A FILM OR TELEVISION PRODUCTION AND PRESENT FINDINGS 29 P11 OBTAIN ARCHIVE MATERIAL FOR PRODUCTION 31 Creative Skillset Production (Film & TV) NOS 2 Approved January 2013 P12 PLAN AND SCHEDULE THE FILM OR TELEVISION PRODUCTION 33 P13 CONTROL THE OVERALL PLANNING OF THE PRODUCTION 35 P14 SELECT CREW AND SUPPLIERS TO MEET PRODUCTION REQUIREMENTS 37 P15 ORGANISE PRE-PRODUCTION ACTIVITIES ON A FILM OR TELEVISION PRODUCTION 39 P16 CO-ORDINATING PRODUCTION RESOURCES – KIT AND EQUIPMENT 41 P17 CONTROL PRODUCTION MATERIALS, EQUIPMENT AND SUPPLIES 43 P18 CO-ORDINATE ACTIVITIES TO SUPPORT PRODUCTION PERSONNEL 45 P19 CO-ORDINATE PRODUCTION PAPERWORK 47 P20 IDENTIFY AND RECOMMEND CONTRIBUTORS AND -
The British War Film, 1939-1980: Culture, History, and Genre
The British War Film, 1939-1980: Culture, History, and Genre by Kevin M. Flanagan B.A., College of William and Mary, 2006 M.A., North Carolina State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kevin M. Flanagan It was defended on April 15, 2015 and approved by Colin MacCabe, Distinguished Professor, Department of English Adam Lowenstein, Associate Professor, Department of English David Pettersen, Assistant Professor, Department of French and Italian Dissertation Advisor: Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Kevin M. Flanagan 2015 iii THE BRITISH WAR FILM, 1939-1980: CULTURE, HISTORY, AND GENRE Kevin M. Flanagan, Ph.D. University of Pittsburgh, 2015 This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples. -
A Comprehensive Study on the Marketing Factors of the Recent Bengali Films Considering Indian Movie Industry
IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House A COMPREHENSIVE STUDY ON THE MARKETING FACTORS OF THE RECENT BENGALI FILMS CONSIDERING INDIAN MOVIE INDUSTRY Mr. Jyotirmoy Mazumder, Head,Department of BBA (H), Tarakeswar Degree College, West Bengal, India ======================================================= ABSTRACT Bollywood or Tollywood, both use marketing tools for various promotional factors in film business. Hindi movies have gone global with higher gross income, whereas South Indian films have also reached some clusters to grow business. Various genre films have been produced in top six local language films, except Hindi. Distribution has gone digital, along with increase in multiplex, but unfortunate decrease in single screens pan India. Bengali cinema gained some budget & marketing expenditure to boost its business, increasing the gross income, but far behind from even South Indian film success. Hence, various film promotion techniques are used with increase in audience research, where Word of Mouth plays as a major tool across all demographic levels. Keywords: Marketing, Strategy, Film promotion, language film, genre, film industry, single screen, multiplex, research, brand, Word of Mouth. ================================================= 10 IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House Introduction The Journal of the Bengal Motion Pictures Association had coined the word, Tollywood - way back in the thirties- to describe a certain kind of „progressive‟ (read „Westernised‟) cinema produced by Calcutta‟s Tollygunge Studios (Derek Bose 2005). The film industry based in Kolkata, West Bengal, is sometimes referred as "Tollywood", a portmanteau of the words Tollygunge, a neighbourhood of Calcutta where most of the Bengali film studios are located, and Hollywood. -
Applying YAWL for the Automated Execution of Film Production Processes
Applying YAWL for the Automated Execution of Film Production Processes Chun Ouyang, Marcello La Rosa, Guy Redding, and Jessica Prestedge BPM Group, Faculty of Information Technology, Queensland University of Technology, GPO Box 2434, Brisbane QLD 4001, Australia {c.ouyang,m.larosa,g.redding,j.prestedge}@qut.edu.au 1 Introduction The Business Process Management (BPM) Group at the Queensland University of Technology (QUT) is involved in a project [3] that aims at applying BPM to the Creative Industries. As part of QUT’s Centre of Excellence for Creative Industries and Innovation, the project has progressed through close cooperation between QUT’s BPM Group and the Australian Film, Television and Radio School (AFTRS). It proposes to apply the general principles, methods and tools of BPM into selected areas of the creative industries such as the Screen Busi- ness. The Screen Business comprises all creative and business related aspects and processes of film, television and new media content, from concept, to production and distribution. A value chain model for the screen business has been devel- oped [9], which consists of four stages: Development, Pre-Production, Production, and Post-Production. As part of the project, we used the open source workflow system YAWL (Yet Another Workflow Language) [1] to automate the execution of the Film Production Process. YAWL offers comprehensive support for workflow patterns, analysis at build time, persistence, automated form generation, and is based on XML technologies. Its service-oriented architecture facilitates the development of sophisticated extensions that enable developers to tailor a YAWL-based work- flow system to the requirements of a particular setting, e.g. -
Bring the State-Of-The-Art in Business Process Management To
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Analysis and Policy Observatory (APO) Camera, Set, Action: Automating Film Production via Business Process Management Chun Ouyang Arthur ter Hofstede Marcello La Rosa Michael Rosemann Faculty of Information Technology Queensland University of Technology Brisbane, Australia Katherine Shortland David Court Australian Film, Television and Radio School Sydney, Australia Abstract The application of Business Process Management (BPM) technology can provide significant benefits to an organisation in terms of cost savings and responsiveness to changes. In this paper the application of this technology in the context of film production is investigated. A prototype called YAWL4Film was developed on top of a state-of-the-art BPM system. YAWL4Film supports collection and entering of production related data and automatic generation of reports required during film production. This system was deployed in two pilot projects at the Australian Film Television and Radio School. 1. Introduction In recent years the field of Business Process Management (BPM) has risen to prominence in terms of its perceived importance by the IT industry. Successful BPM implementations may lead to significant efficiency gains, may help demonstrate compliance with standard practices and procedures, and may increase adaptiveness to changes in the environment in which a business operates. While there are several definitions of BPM sometimes emphasising different aspects, a core notion is the concept of business process. Examples of business processes include the processing of insurance claims, mortgage applications, and travel requests. BPM is concerned with the lifecycle of these processes, which not only involves their brief and execution, but also their post-execution analysis and subsequent improvement (van der Aalst, ter Hofstede, and Weske, 2003). -
Film Finances and British Independents in the 1970S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Portsmouth University Research Portal (Pure) Calculated Risks: Film Finances and British Independents in the 1970s Justin Smith, University of Portsmouth Abstract This article examines three British films made in the first half of the 1970s. It draws upon the reports made by Film Finances’ assessor John Croydon to the Chairman R.E.F. Garrett, and correspondence between Film Finances and the films’ producers, as well as scripts, schedules, daily progress reports and budgetary information. Two of the films, The Wicker Man (Robin Hardy, 1973) and ‘Don’t Look Now’ (Nicolas Roeg, 1973), were backed by the struggling independent studio, British Lion. The third, Lisztomania (Ken Russell, 1975), was the second in a planned three-picture deal with Goodtimes Enterprises’ subsidiary Visual Programme Systems (VPS), and was supported by the National Film Finance Corporation (NFFC); but the deal collapsed in specular fashion, almost bankrupting its producers in the process. The focus of attention here will be on production histories, rather than the films themselves. I hope to be able to assess, thereby, what additional value the Film Finances archives can provide in understanding the relations between capital and creativity in the British film industry in this period. Introduction One of the well-established tenets of the ‘new’ film history is that film culture cannot be explained in any straightforward way as a reflection of its time without taking into account the context of its industrial determinants and its authorial collaborations.1 This raison d’être for researching production histories remains persuasive, insofar as it may be possible to 1 demonstrate how commercial, creative and censorial battles leave their marks on a film, or how studio regimes are organised in order to produce certain kinds of product. -
Automating Film Production Processes
Camera, Set, Action: Process Innovation for Film a n d T V Production1 Chun Ouyang Kenneth Wang Arthur ter Hofstede Marcello La Rosa Michael Rosemann Business Process Management Group Queensland University of Technology Brisbane, Australia Katherine Shortland David Court Australian Film, Television and Radio School Sydney, Australia Abstract: Film and TV productions, a key area in production screen business, comprise of processes with high demand for creativity and flexibility. However, despite the era of fast developing technology, film production processes are carried out in an old fashioned way. This is reflected, for example, by the fact that document processing accompanied by daily shooting activities is still primarily paper-based and coordinating geographically distributed cast and crew is purely manual or at best through emails. There is an opportunity to bring process innovation into this industry, which can streamline and optimise film production processes and thus reduce production costs. Business Process Management (BPM) is the mainstream contemporary technology-enabled business improvement method. It has proven to provide significant benefits to an organisation in terms of cost savings and responsiveness to changes. In this paper, we apply BPM technology to process innovation for film production. We also share experiences in how to deal with innovation barriers in the film industry. Over the course of the investigation, a prototype called YAWL4Film was developed on top of a state-of-the-art BPM system. YAWL4Film supports collection and entering of production related data and automatic generation of reports required during film production. The system was deployed in two student productions at the Australian Film Television and Radio School (AFTRS), as well as in a feature film production by Porchlight, an independent film production company. -
Stanley Kubrick: Producers and Production Companies
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive Stanley Kubrick: Producers and Production Companies Thesis submitted by James Fenwick In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, September 2017 1 Abstract This doctoral thesis examines filmmaker Stanley Kubrick’s role as a producer and the impact of the industrial contexts upon the role and his independent production companies. The thesis represents a significant intervention into the understanding of the much-misunderstood role of the producer by exploring how business, management, working relationships and financial contexts influenced Kubrick’s methods as a producer. The thesis also shows how Kubrick contributed to the transformation of industrial practices and the role of the producer in Hollywood, particularly in areas of legal authority, promotion and publicity, and distribution. The thesis also assesses the influence and impact of Kubrick’s methods of producing and the structure of his production companies in the shaping of his own reputation and brand of cinema. The thesis takes a case study approach across four distinct phases of Kubrick’s career. The first is Kubrick’s early years as an independent filmmaker, in which he made two privately funded feature films (1951-1955). The second will be an exploration of the Harris-Kubrick Pictures Corporation and its affiliation with Kirk Douglas’ Bryna Productions (1956-1962). Thirdly, the research will examine Kubrick’s formation of Hawk Films and Polaris Productions in the 1960s (1962-1968), with a deep focus on the latter and the vital role of vice-president of the company. -
Part 7 Audio-Visual Communication
Part 7 Audio-Visual Communication AUDIO VISUAL COMMUNICATION Module Notes Nature of Audio Visual Production We all watch films that we treasure and identify with – for their laughs, their thrills, or their haunting images of terror. Movie stars become cult figures or active politicians. Movies inform many parts of our lives and therefore we should enjoy them in many ways including the challenging pleasure of trying to think about, explain and write about our experience. Audio visual communication is something where audiences feel involved. By using audio visual medium, a story can be viewed from different point of views. In this medium of communication, sound has been carefully woven on the fabric of the film. Although video, an audio of a film are created separately and presented together to create a greater meaning. The need and importance to study Audio Visual: Audio Visual has a wide connotation and is evident in every sector the society; there are various advantages of the same: It records and preserves historical events, provides public with information, instructs people with tools and machines, teaches children in the classroom and students in the lecture hall, educates and enlightens grown up with the current and social affairs, assists scientists and technicians, brings people together to understand each other and instructs, informs and educates people who cannot read and write. Film is an art form which requires sophisticated technology; it’s a source of popular entertainment, and a powerful method for citizens. Images and Expression: Images express mental states, feelings, emotions etc. The image is a virtual object and not a real object. -
Filmmaking 11
Filmmaking 11 Filmmaking Filmmaking (often referred to in an academic context as film production) is the process of making a film. Filmmaking involves a number of discrete stages including an initial story, idea, or commission, through scriptwriting, casting, shooting, editing, and screening the finished product before an audience that may result in a film release and exhibition. Filmmaking takes place in many places around the world in a range of economic, social, and political contexts, and using a variety of technologies and cinematic techniques. Typically, it involves a large number of people, and can take from a few months to several years to complete. Parts Film production involves several major stages:[1][1] •• Development — — The first stage in which the ideas for the film are created, rights to books/plays are bought etc., and the screenplay is written. Financing for the project has to be sought and greenlit. •• Pre-production — —Preparations are made for the shoot, in which cast and film crew are hired, locations are selected, and sets are built. •• Production — —The raw elements for the film are recorded during the film shoot. •• Post-Production — —The images, sound, and visual effects of the recorded film are edited. •• Distribution — —The finished film is distributed and screened in cinemas and/or released on DVD. Development In this stage, the project's producer selects a story, which may come from a book or a play or another film or a true story or an original idea, etc. After identifying a theme or underlying message, the producer works with writers to prepare a synopsis.