Creative England's Filming Partnership Toolkit
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Film Tourism: What Is It, and How Can You Maximise the Beneits? Introduction
Film Tourism: What is it, and how can you maximise the beneits? Introduction Film and TV production in the UK is on the rise. Production in 2014 was up a massive 35% from the year before to the highest ever recorded level. The vast majority of this growth has been spurred on by inward investment from international productions. Supported by a competitive tax credit regime for ilm and television drama, even more productions are expected to ilm here in the coming years, meaning that audiences around the world will see more of the UK’s rich and varied locations on screen than ever before. This ilm tourism toolkit provides guidance and case studies for potential ilm locations on how to maximise the potential of ilm tourism. New College Cloisters, Oxford where Harry Potter was ilmed © VisitEngland, VisitOxfordshire Alnwick Castle The Tourism Opportunity Film and TV productions can be a powerful way to add proile to a nation’s tourism ofer, both at home and abroad - they can help to showcase a country’s natural and cultural assets; inform, inspire and inluence travel decisions and help to market and grow local visitor economies. Creative England, in association with VisitEngland and Olsberg SPI, recently produced a new report to identify the value of ilm and television tourism to England and explore how local areas can capitalise on this growing phenomenon. Victoria Baths, Manchester © Mark Payne Key Findings • International core screen tourism in England (outside of London) was worth between £100 million-£140 million in 2014. • All eight locations at which surveys were carried were found to be attracting international or domestic visitors who said they would not have travelled there if they had not seen the associated ilm or television drama. -
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. -
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. -
Britbank West Bay, Bridport
Britbank West Bay, Bridport BRITBANK, WEST BAY BRIDPORT, DORSET DT6 4EZ Parkers are delighted to offer for sale this wonderful two double bedroom riverside chalet in the idyllic fishing village of West Bay. Built in 1900 and DI Alec Hardy's (played by David Tennant) home in the second season of the hit ITV television series Broadchurch, this property offers a sitting/dining room, kitchen, bathroom and good storage options. There is also a decked area overlooking the River Brit offering a beautiful outlook across the surrounding area, and a mooring for a boat. Freehold, permanent or second home and possible long-term or holiday let. No forward chain. EPC rating TBC. Britbank is situated close to the harbour and the beach on Dorset's famous Jurassic Coast in the idyllic fishing village of West Bay. Surrounded by beautiful countryside, West Bay also marks the north-west end of the Chesil Beach and is within walking distance of Bridport town centre (approximately 1.8 miles), a charming market town renowned for its friendly and vibrant culture, and fantastic reputation for quality local food and art. Local facilities include comprehensive shopping facilities, a post office, arts centre, theatre, leisure centre, library, cinema and museum. There are also regular bus services to Exeter, Lyme Regis, Beaminster, Yeovil, Dorchester, Weymouth and Poole and direct train services to London Waterloo and Bristol Temple Meads run from the County Town of Dorchester, located 15 miles east. • Unique two bedroom detached timber bungalow situated in a riverside • Useful utility area offering storage and space for a washing machine. -
Broadchurch Cliffs’
Jurassic Coast from Portland and Chesil Beach to West Bay and the ‘Broadchurch Cliffs’ This three day photographic break is based in the outstandingly beautiful area of Dorset around West Bay where the popular TV series ‘Broadchurch’ was recently filmed. We will visit the stunning village of Abbotsbury, the rugged coast around the Isle of Portland, the fantastic geological marvel of Chesil Beach, and the wonderful sculptures by the lakes at the home of Simon Gudgeon. Weymouth with and its Victorian architecture will also provide us with many photographic opportunities. From vast landscapes to Close-up and Macro shots why not come along and develop your photographic skills in the presence of one of our expert tutors. The cost includes all entry fees, minibus transport for the duration of the course and tutoring fees. Accommodation and meals are not included but we will be based at the Premier Inn Hotel Weymouth, Gateway Business Park, Mercery Road, Weymouth, Dorset. DT3 5HJ (Located 2 miles from Weymouth town centre). Please contact the hotel directly on 0871 527 9384 to book your stay. Clients who live nearby are welcome to book the event without the hotel stay. Please note, the programme will be varied as necessary to meet the needs of the group and to make the most of the weather conditions. Day 1 – Sculptures by the Lakes at Pallington Lakes Once we are all assembled at the hotel between 10.30 and 11.00 we will board the minibus and head off to the Sculptures by the Lake. This beautiful sculpture park near Dorchester features the work of Simon Gudgeon, who is also an accomplished photographer himself. -
Broadchurch: the Detectives Behind the Detective
Broadchurch : the detectives behind the detective Noémie Tosser To cite this version: Noémie Tosser. Broadchurch : the detectives behind the detective. Literature. 2017. dumas- 01765729 HAL Id: dumas-01765729 https://dumas.ccsd.cnrs.fr/dumas-01765729 Submitted on 13 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License 1 Table of content Acknowledgements...........................................................................................................4 Introduction.......................................................................................................................5 I – The archetypical detective in literature and Alec Hardy..............................................8 1 – Definition of the archetypical detective.................................................................8 a – History of detective stories in literature............................................................8 b – Establishing the corpus -
Harper's Bazaar
TALKING POINTS Clockwise from below: David Tennant. should fi lm something here.’ Then I realised, stupidly, that someone Charlotte Rampling, who joins the cast for could be me. series two. Leading Once this landscape gets into you, it doesn’t let go. The cliffs, the lady Olivia Colman endless sea, the fi elds that roll right up to the beach. This is Thomas Hardy country: he understood and wrote about this savage, beautiful scenery better than anyone. Broadchurch is peppered with references to his work, from the name of David Tennant’s character, Alec Hardy, to the name of the local police force, Wessex Police. There are more embedded in the second series too. Then there’s the cast, headed by Olivia Colman and Tennant. I wrote the part of Ellie for Olivia – I’m not sure what we’d have done if she’d turned us down. Thankfully, she didn’t, and it has been a privilege to write for TELEVISION an actress who’s capable of anything you throw at her. She’s also a wonderful person to have on set: funny and relaxed when the cameras aren’t rolling; incredibly serious WATCHING about her work the second shooting starts. In David Tennant, we found the perfect male counterpart: an extra ordinary actor, THE DETECTIVES also capable of the switch from emotion to ITV’s atmospheric crime dramaBroadchurch humour in the blink of an eye. They both possess such humanity, empathy and returns for a second series in January.warmth, as actors and as people. And I The show’s creator and writer CHRIS CHIBNALL haven’t even got to Jodie Whittaker, Andrew Buchan, Arthur Darvill, Carolyn Pickles, explains the chemistry that made it a cult hit Jonathan Bailey – a cast of strength in depth. -
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. -
Investigating Sound: Visual and Aural Style from Broadchurch to Gracepoint
Marquette University e-Publications@Marquette College of Communication Faculty Research and Publications Communication, College of 2017 Investigating sound: Visual and aural style from Broadchurch to Gracepoint Amanda R. Keeler Follow this and additional works at: https://epublications.marquette.edu/comm_fac Part of the Communication Commons Marquette University e-Publications@Marquette Communication Faculty Research and Publications/College of Communication This paper is NOT THE PUBLISHED VERSION; but the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation below. The Soundtrack, Vol. 10, No. 1 (2017) : 43-57. DOI. This article is © Intellect Ltd. and permission has been granted for this version to appear in e-Publications@Marquette. Intellect Ltd. does not grant permission for this article to be further copied/distributed or hosted elsewhere without the express permission from Intellect Ltd. Investigating sound: Visual and aural style from Broadchurch to Gracepoint AMANDA KEELER: Marquette University ABSTRACT Using Broadchurch and its American version Gracepoint as a case study, this article explores the aesthetic relationship between these two television programmes through an analysis of their visual and aural styles. The increasing proliferation of television-to-television adaptations and remakes necessitates revisiting the terminology to assess how it accommodates methodological approaches that extend beyond cross-cultural analyses. As narrative content and style are inextricably connected, this article attends to the complexity of employing existing terms to analyse the new version of a programme that simultaneously replicates and departs from the style and tone of its predecessor. KEYWORDS Television, adaptation, remake, format, sound, aesthetics In March 2013 ITV began airing the crime drama Broadchurch (2013–17), which television critic Mike Hale describes as ‘a moody, slow-moving, complicated crime story with damaged heroes and not much redemption to go around’ (2013). -
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.