DOCSLIB.ORG

Creative England Annual Report 16-17

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creative England Annual Report 16-17 Annual Report 2016–2017 Chairperson Foreword Chief Executive Foreword John Caroline Newbigin Norbury MBE At the end of its sixth year, Creative England is long out of its ‘start-up’ phase and, like any successful creative business, is now ‘scaling-up’; scaling up an Creative England Chief Executive already remarkable story of success in developing new film talent; scaling up its reputation as a shrewd investor and mentor for creative businesses; scaling up its role as a leading player in developing and I am proud to share with you Creative England’s We’ve also been fortunate enough to receive implementing policies that grow the creative sector Annual Report which highlights the impact of our National Lottery funding, through the BFI. This and contribute to the significance of ‘place’ as a work and the many creative projects we have enables us to bring the best new talent to the touchstone of government strategy; and scaling up supported throughout the year. fore and tell stories that reflect England in all its its reach and ambition by building partnerships with diversity, creating content that is both creative major brands and commercial investors. Creative England was established to combat the and commercial – and what better reason to invest challenge that whilst talent might be everywhere, in the industry? Continuing austerity in the public finances, coupled opportunity is not. This overview of the year sets with a dense fog of uncertainty around Brexit, out how our company has realised that objective - I want to thank the incredible team at Creative has made this an extremely challenging year for supporting creative people and creative businesses England for their positive, ‘can-do’ attitude and the us - just as it has for many of the companies, local and connecting them to the money, the markets and rigour and passion that makes Creative England the authorities and other public agencies with whom the networks that help them thrive. dynamic constantly evolving organisation it is. I also we work. But these hard times have vindicated want to thank our board of non-executive directors, the company’s strategic aim of moving away Over the past year we have supported over 90 ably-led by our Chairman John Newbigin OBE, who from reliance on public funding and towards a creative businesses, worked with 274 filmmakers generously give us their time, expertise and wisdom. self-sustaining model of investment, loans and and invested nearly £10m into the creative sector. services. And our growing engagement with a On the whole our investment has leveraged We believe our country is filled with some of the wider spread of businesses in the tech sector has a further £35.9m. most creative, innovative and inventive people provided gratifying evidence that it’s at the point of and businesses in the world and we know they collaboration between creative talent and innovative We’re in the business of investing in talent, helping are scattered all over this green and pleasant land. technology that really exciting things happen. them realise their ideas and creating opportunities We have tried to capture as much as we can to for them to grow – no matter where they come from. give you a picture of that richness and ingenuity; Creative England continues to prove that ‘Place’ is at the heart of what we do – whether the creativity that makes this tiny country a world- commercial acumen and public purpose need that’s through our feature film programme for leading creative powerhouse. not be at odds – many of the businesses and new filmmakers – iFeatures – where location and projects with which we have worked during the last place is key to the stories we make; through to year have brought social and cultural benefit to our investment and loan programmes for creative communities as well as generating jobs, growth and businesses. Businesses who have brilliant products profits. New talent has been encouraged to shine, and services, but often lack the relevant connection new businesses built, new ideas brought to fruition, to the finance or market opportunity that help them ignored voices heard. turn a great idea into a viable business. It’s been my great privilege to have chaired Creative The ambition and breadth of this task means England through the first chapter of its life and to it would be impossible to deliver without having see it grow as an organisation that practices the strong relationships with other organisations, both values it preaches – innovation, ambition, social public and private sector. Since its conception, purpose… and tight financial management. That Creative England has had the support of government, achievement is thanks to a great team, brilliantly most noticeably through the use of the Regional led by Caroline Norbury and supported by a Board Growth Fund to make investments which, crucially, whose commitment, experience and generosity can then be leveraged to attract further private continues to be exceptional. sector investment. 2 — Annual Report Foreword — 3 Creative England Success 2016-2017 Creative England Success 2016-2017 It was a busy year for Creative England and the talent we supported – here is our September rundown of the main successes. We take several games companies to EGX and sponsor the investment summit on games investment in the UK 2016 Premiere of ITV’s Victoria, which we worked extrensively on April May Prolifiko user Wyl Menmuir is nominated for the Rachel Tunnard, director of Adult Life Skills, wins Announcement of Creative England-supported Man Booker Prize Nora Ephron Prize at Tribeca Film Festival feature, Dawn of the Dark Fox; the first film directed Creative England Success 2016-2017 by an individual with autism Production companies, freelancers & SMEs Digital Healthcare Fund launches in Yorkshire July connect at our Crew Night in Bristol in partnership & Humber Chanya Button wins LOCO Discovery Award with Screen Wales for first featureBurn Burn Burn We celebrate Northern creativity at CELive: Formisimo launches Nudgr app to help brands Northern Lights at The Lowry in Salford Adtech start-up Avocarrot is acquired by Glispa boost conversion rates Launch of our partnership with Cheshire East Global Group for $20M to create a £200,000 investment fund for medium- Launch of ProConnect programme in the Greater iShorts+ Funny Girls at LOCO Film Festival sized businesses within the area Manchester region Lady Macbeth and The Levelling have their world premieres at Toronto International Film Festival The Floow awarded 2016 Queen’s Award We select our 2016 filmmakers for the third iteration Announcement of new partnership with Karmarama for Enterprise of iShorts to champion and support the best small creative The Girl with All the Gifts opens for theatrical and digital businesses across the UK release in UK cinemas We take our supported producers to Galway June Film Fleadh and give them direct experience of international markets, co-productions, the perfect Creative England launches two new programmes pitch and closing a deal to provide dedicated support to producers at Cannes Film Festival Notes on Blindness, The Confession and Paa Jo August and the Lion premiere at Sheffield Doc/Fest Launch of joint report with Nesta – The Geography We launch ‘First Bourne’ accelerator in partnership of Creativity with Silicon South in Dorset Landmrk, supported by Creative England, was selected for the Unilever Foundry 50 We unveil our iFeatures top 12, which we hand-selected from hundreds of applications from promising filmmakers across England We re-open applications for our Greenshoots programme in partnership with Microsoft Lockwood Publishing opens a brand-new studio in Brighton 4 — Annual Report Creative England Success 2016-2017 — 5 Creative England Success 2016-2017 2017 November January March ‘England is Creative’ launches - shining a light and celebrating the talented individuals and shortFLIX, our partnership with Sky Arts & The We fully allocate our latest round of tech companies we have worked with across the years National Youth Theatre, opens for applications investments through the Digital Growth Programme, bringing the total number of investments to 126 GamesLab Leeds programme launches for game God’s Own Country premieres at Sundance Film developers in the Leeds City Region Festival and director Francis Lee wins the Special Caroline Norbury gives a speech at University Jury Award for Directing in World Cinema Drama of Limerick discussing women in the TV We launch our brand-new website, revamped and film industry to make it even easier to navigate UMusicTV launch children’s pop music channel in MediaCityUK Lady Macbeth director William Oldroyd is listed 17 BIFA nominations for Creative England- as one of the eight filmmakers to watch in the supported films, includingNotes on Blindness, New York Times The Levelling, Adult Life Skills and The Confession February Evidential feature in Swipe: Sky News, on use Cupris Health is a finalist in the Mobile Ecosystem of VR in the courtroom Forum awards in the Mhealth category CELive 2017: Synthesise at Barclays HQ, Canary Wharf Carbon Digital complete marketing campaign Twine launches new campaign for Remembrance for Unilever Day, with a World War II veteran using VR to return CE50 and Future Leaders published - shining October to the scene of battle a light on the brightest individuals across film, PureNet’s product PureClarity wins ‘Best SaaS games & technology Solution of the Year’ at the IT European Software Creative England and Film Office partners publish
Load more

Recommended publications
  • May Fair Confirms Starring Role for the 56Th Bfi
    CONTACT Mason Williams T: 0845 0941 007 [email protected] MAY FAIR CONFIRMS STARRING ROLE FOR THE 56 TH BFI LONDON FILM FESTIVAL IN PARTNERSHIP WITH AMERICAN EXPRESS The May Fair Hotel , London, plays a starring role in the 56th BFI London Film Festival in partnership with American Express, confirming it will be the official hotel partner for the 4 th consecutive year. The luxury London hotel will be celebrating the two-week festival (10-21 October 2012) with a gala film event on 19 th October showing Paul Andrew Williams’s uplifting drama and ‘one to watch’; Song For Marion, plus a series of May Fair movie moments. Song For Marion, which was recently selected to close the Toronto Film Festival, is a charming film in which Gemma Arterton plays a young woman who runs a music school. Vanessa Redgrave plays an ailing elderly woman with a great love of life who is one of her students. Terence Stamp plays Vanessa’s grumpy husband. A heart warming and joyful film about love, loss and self-discovery. The May Fair Hotel, which has been synonymous with the film industry since the 1950’s when it was owned by film impresarios, the American Danziger Brothers (founders of Elstree Studios), is home to London’s largest private theatre/cinema accommodating 201 guests within luxurious surroundings and providing the very latest, cutting edge technology. Director of Marketing For The May Fair Hotel, Linda Plant said: “Extending our relationship and activities with the BFI reinforces our position as THE film hotel in London .
    [Show full text]
  • Lista Distribuidores Correccion
    • 12 Yard Productions • Alex Bowen Producciones • 2929 Entertainment • All3media International • 3DD Enterteinment • Allegro Pictures • 9 Story Enterprises • Alley Cat Films • A&E Channel Home Video • Alliance Atlantos Releasing • Aardman • Alphablocks Limited • Abduction Films • Altadena Film • Acacia • AMC Networks (Walking Dead Only) • ACC Action Concept Cinema • American Cinema Independent • ACI • American Portrait Films • Acorn Group • Andrea Films • Acorn Media • Andres Wood Producciones • Actaeon Films • Anglia Television • Action Concept • Animal Planet Video • Action Concept • Animalia Productions • Action Concept Film and Stuntproduktion • Annapurna Productions • Action Image • Apollo Media Filmmanagement • Adness Entertainment • Arte France • After Dark Films • Artemis Films • Ager Film • Associated Television • AIM Group • Athena • Akkord Film Produktion • Atlantic 2000 • Alain Siritzky Productions • Atlantic Productions • Alameda Films • August Entertaiment • Alcine Pictures • AV Pictures • Alcon Entertainment • AWOL Animation • Berlin Amimation Film • Best Film and Video • Best Picture Show • Betty TV • B & B Company • Beyond International • Baby Cow Productions • Big Bright House of Tunes • Bandai Visual • Big Idea Entertainment • Banjiay Internartional • Big Light Productions • Bankside Films • Big Talk Productions • Bard Entertainment • Billy Graham Evangelistic Association / World Wide • Bardel Distribution • Pictures • BBC Worldwide • Bio Channel • BBL Distribution • BKN International • BBP Music Publishing c/o Black
    [Show full text]
  • Bfi London Film Festival Announces New Format For
    BFI LONDON FILM FESTIVAL ANNOUNCES NEW FORMAT FOR 2020 EDITION Virtual LFF & LFF in Cinemas The first ever edition of the Festival to be widely accessible across the UK 50 Virtual Festival Premieres to be enjoyed at home Up to 12 special previews of eagerly anticipated upcoming films screening in cinemas around the UK New Audience Choice Awards introduced for 2020 Edition Free talks, events, short films LONDON – Thursday 2nd July, 2020, 13:00 : The BFI London Film Festival in partnership with American Express today reveals its plans for the upcoming edition of the Festival from 7th-18th October 2020. In the most accessible version of the festival to UK audiences yet, film lovers will be given an opportunity to connect for a unique and innovative festival experience, enjoying both live and digital screenings across the 12 days of the Festival. Adapting to the extraordinary challenges of the year, the Festival will deliver up to 50 Virtual Festival Premieres in a programme that offers audiences the opportunity to see the best new cinema from around the world and with that same texture LFF’s audiences love, including fiction, documentary, animation, artists’ moving image, and restored classics from the world’s archives. Every film will be presented with an intro or Q&A, and the programme will also include a range of free-to-access additional works and events to include: an international short film programme, Screen Talks with major filmmakers and actors, salons and roundtables and a brand new Virtual Exhibition of XR and Immersive Art. Industry and Media delegates will have access to a rich professional programme, also delivered digitally.
    [Show full text]
  • SEAN CONWAY Writer and Director
    SEAN CONWAY Writer and Director 2020 MAKING WOLF Adaptation of the novel by Tade Thompson TV Series, Fable Pictures 2020 TONY DICK Creator/Writer TV Series, Chapter One Pictures 2020 LOVE IS THE KING OF BEASTS Creator/Writer TV Series, Company Pictures 2020 SWALLOWS Co Created with Wayne Lettice, TV Series, Warp films / BBC 2019/2020 THE RESURRECTION Creator/Writer TV Series, Carnival Films 2019/2020 JACK THE STRIPPER Co-Creator with Eddie Marsan TV Series, Red Productions / Channel 4 2019/2020 THE HOLES Creator and Writer TV Series, Sid Gentle Films 2018 THE VOYEUR Writer TV series, Sid Gentle Productions 2018 TIES THAT BIND Writer Book adaptation for TV, Carnival Films 2013-18 RAY DONOVAN Writer & Executive Producer TV Series (1, 4-6) The Mark Gordon Company/Showtime Starring Liev Schreiber 2016 ALL I SEE IS YOU Written with Marc Foster Feature Film 2DUX2/Sierra Affinity Starring Blake Lively and Danny Huston 2016 RED LIGHT BALLET Writer TV Pilot for 20th Century Fox 2015 LONG AFTER TONIGHT Writer Feature Film Hook Pictures & Creative England 2014 THE DESERVERS Writer & Co-Creator with Paul Abbott TV Series BBC 2014 DEAD I MAY WELL BE Writer TV Pilot for Anonymous Content 2014 SHAMELESS Writer 1 episode for series 10 Company/Channel 4 2011 HIT & MISS Writer 6 episodes of TV series for Sky / Red Productions / Abbott Vision, created by Paul Abbott and commissioned by Sky Atlantic Winner, Best European and International Fiction at the Television Festival de la Rochelle Nominated for Best Script Writer, 2012 RTS North West Awards Nominated
    [Show full text]
  • Uk Producers in Cannes 2009
    UK PRODUCERS IN CANNES 2009 Produced by Export Development www.ukfilmcouncil.org/exportteam The UK Film Council The UK Film Council is the Government-backed lead agency for film in the UK ensuring the economic, cultural and educational aspects of films are effectively represented at home and abroad. Our goal is to help make the UK a global hub for film in the digital age, with the world’s most imaginative, diverse and vibrant film culture, underpinned by a flourishing, competitive film industry. We invest Government grant-in-aid and Lottery money in developing new filmmakers, in funding new British films and in getting a wider choice of films to audiences throughout the UK. We also invest in skills training, promoting Britain as an international filmmaking location and in raising the profile of British films abroad. The UK Film Council Export Development team Our Export Development team supports the export of UK films and talent and services internationally in a number of different ways: Promoting a clear export strategy Consulting and working with industry and government Undertaking export research Supporting export development schemes and projects Providing export information The team is located within the UK Film Council’s Production Finance Division and is part of the International Group. Over the forthcoming year, Export Development will be delivering umbrella stands at the Toronto International Film Festival and Hong Kong Filmart; and supporting the UK stands at the Pusan Asian Film Market; American Film Market and the European Film Market, Berlin;. The team will also be leading Research & Development delegations to Japan and China.
    [Show full text]
  • Documentary in the Steps of Trisha Brown, the Touching Before We Go And, in Honour of Festival Artist Rocio Molina, Flamenco, Flamenco
    Barbican October highlights Transcender returns with its trademark mix of transcendental and hypnotic music from across the globe including shows by Midori Takada, Kayhan Kalhor with Rembrandt Trio, Susheela Raman with guitarist Sam Mills, and a response to the Indian declaration of Independence 70 years ago featuring Actress and Jack Barnett with Indian music producer Sandunes. Acclaimed American pianist Jeremy Denk starts his Milton Court Artist-in-Residence with a recital of Mozart’s late piano music and a three-part day of music celebrating the infinite variety of the variation form. Other concerts include Academy of Ancient Music performing Purcell’s King Arthur, Kid Creole & The Coconuts and Arto Lindsay, Wolfgang Voigt’s ambient project GAS, Gilberto Gil with Cortejo Afro and a screening of Shiraz: A Romance of India with live musical accompaniment by Anoushka Shankar. The Barbican presents Basquiat: Boom for Real, the first large-scale exhibition in the UK of the work of American artist Jean-Michel Basquiat (1960-1988).The exhibition brings together an outstanding selection of more than 100 works, many never seen before in the UK. The Grime and the Glamour: NYC 1976-90, a major season at Barbican Cinema, complements the exhibition and Too Young for What? - a day celebrating the spirit, energy and creativity of Basquiat - showcases a range of new work by young people from across east London and beyond. Barbican Art Gallery also presents Purple, a new immersive, six-channel video installation by British artist and filmmaker John Akomfrah for the Curve charting incremental shifts in climate change across the planet.
    [Show full text]
  • UK Film Council Group and Lottery Annual Report and Financial Statements for the Year Ended 31 March 2011
    UK Film Council Group and Lottery Annual Report and Financial Statements for the year ended 31 March 2011 HC 1391 SG/2011/142 £20.75 UK Film Council Group and Lottery Annual Report and Financial Statements for the year ended 31 March 2011 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 2011 Presented to the Scottish Parliament pursuant to the Scotland Act 1998 Section 88 Company no: 3815052 London: The Stationery Office HC 1391 SG/2011/142 14 July 2011 £20.75 1 © UK Film Council (2011) 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 UK Film Councilcopyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. This publication is also for download at www.official-documents.gov.uk This document is also available from the Department for Culture, Media and Sport’s website at: http://www.transparency.culture.gov.uk/arms-length-bodies/ ISBN: 9780102974485 Printed in the UK by The Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery Office ID: 2441293 07/11 13762 19585 Printed on paper containing 75% recycled fibre
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • BRITISH ACADEMY TELEVISION CRAFT AWARDS in 2016: Winners in *BOLD
    BRITISH ACADEMY TELEVISION CRAFT AWARDS IN 2016: Winners in *BOLD SPECIAL AWARD *NINA GOLD BREAKTHROUGH TALENT sponsored by Sara Putt Associates DC MOORE (Writer) Not Safe for Work- Clerkenwell Films/Channel 4 GUILLEM MORALES (Director) Inside No. 9 - The 12 Days of Christine - BBC Productions/BBC Two MARCUS PLOWRIGHT (Director) Muslim Drag Queens - Swan films/Channel 4 *MICHAELA COEL (Writer) Chewing Gum - Retort/E4 COSTUME DESIGN sponsored by Mad Dog Casting BARBARA KIDD Jonathan Strange & Mr Norrell - Cuba Pictures/Feel Films/BBC One *FOTINI DIMOU The Dresser - Playground Television UK Limited, Sonia Friedman Productions, Altus Productions, Prescience/BBC Two JOANNA EATWELL Wolf Hall - Playground Entertainment, Company Pictures/BBC Two MARIANNE AGERTOFT Poldark - Mammoth Screen Limited/BBC One DIGITAL CREATIVITY ATHENA WITTER, BARRY HAYTER, TERESA PEGRUM, LIAM DALLEY I'm A Celebrity... Get Me Out of Here! - ITV Consumer Ltd *DEVELOPMENT TEAM Humans - Persona Synthetics - Channel 4, 4creative, OMD, Microsoft, Fuse, Rocket, Supernatural GABRIEL BISSET-SMITH, RACHEL DE-LAHAY, KENNY EMSON, ED SELLEK The Last Hours of Laura K - BBC MIKE SMITH, FELIX RENICKS, KIERON BRYAN, HARRY HORTON Two Billion Miles - ITN DIRECTOR: FACTUAL ADAM JESSEL Professor Green: Suicide and Me - Antidote Productions/Globe Productions/BBC Three *DAVE NATH The Murder Detectives - Films of Record/Channel 4 JAMES NEWTON The Detectives - Minnow Films/BBC Two URSULA MACFARLANE Charlie Hebdo: Three Days That Shook Paris - Films of Record/More4 DIRECTOR: FICTION sponsored
    [Show full text]
  • Independent Television Producers in England
    Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed.
    [Show full text]
  • 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.
    [Show full text]