DOCSLIB.ORG

Public Investment in Film in the Uk Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Public Investment in Film in the Uk Contents PUBLIC INVESTMENT IN FILM IN THE UK CONTENTS Facts in focus....................................................................................................................................................................... 03 Public funding for film in the UK by source .......................................................................................................................... 04 Spend by agency ................................................................................................................................................................ 06 Activities supported by public spending on film .................................................................................................................. 07 Spend across the UK nations .............................................................................................................................................. 08 Creative Europe investment in the UK ................................................................................................................................. 09 BFI Lottery awards 2018 ...................................................................................................................................................... 10 Leading public investors in British film production, 2016-2018 ............................................................................................. 11 Cover image: Misbehaviour courtesy of Pathé UK 2 Facts in focus PUBLIC FUNDING FOR FILM IN THE UK Total estimated public funding available for film in the UK in2017/18 was £634 million, an increase of 9% from £582 million in 2016/17. 2016/17 2017/18 National Lottery £60m National Lottery £61m DCMS grant-in-aid £29m DCMS grant-in-aid £26m Other sources £78m Other sources £78m HMRC (film tax relief)£415m HMRC (film tax relief)£469m ACTIVITIES SUPPORTED BY PUBLIC FUNDING FOR FILM IN THE UK 2016/17 2017/18 Production £490m £548m Distribution & exhibition £55m £70m Training & skills £24m £26m Other activity £66m £50m % 0 10 20 30 40 50 60 70 80 % 0 10 20 30 40 50 60 70 80 In 2017/18, 86% of investment in film production came from the film production tax relief, up from 85% in 2016/17. SPEND ACROSS THE NATIONS For both 2016/17 and 2017/18, in cash terms funding dedicated solely to film activity in the individual nations of the UK was greatest in England but per capita investment was highest in Northern Ireland. 30 30 2016/17 2017/18 20 20 Total dedicated investment, £ million 10 £ per head 10 of population 0 0 England Northern Scotland Wales England Northern Scotland Wales Ireland Ireland 3 Public investment in film in the UK PUBLIC FUNDING FOR FILM IN THE UK Investment from Arts Council England (ACE) in 2017/18 BY SOURCE was £8 million. (This is a substantial decrease from funding of just over £13 million in the previous financial Table 1 outlines the estimated levels of available public year, but is still up from the £4.7 million reported for funding for film in the UK from 2015/16 to 2017/18. (The 2015/16). ACE funding includes National Portfolio figures do not include some types of local authority, investments into organisations and venues which form research council, higher or further education funding.) part of the national infrastructure for the arts (this element is relatively unchanged from 2016/17) alongside project The total public funding available for film in 2017/18 is awards from Grants for the Arts and other schemes (the estimated to have been £634 million, up from £582 million level of successful moving image project applications to in 2016/17. The largest single source of public funding in these selective schemes varies substantially from year the year was the UK film tax relief, which provided to year). £469 million (74% of the total). This was followed by the National Lottery (£61 million; 10% of the total) and grant- The European Union (EU) provided investment of £5.4 in-aid (£26 million; 4% of the total) from the Department million for UK film activity, of which £4.4 million came from for Digital, Culture, Media and Sport (DCMS) to the BFI Creative Europe’s MEDIA sub-programme in 2017 (see and the National Film and Television School (NFTS). note to Table 1) and £1 million was via the structural funds Funding from DCMS in 2017/18 was lower than in the in 2017/18. Investment from these funds, which include previous two financial years, which accords with a the European Regional Development Fund and European broader decrease in UK government grant-in-aid Social Fund, increased compared with 2016/17 investment. (£0.5 million) but was substantially down from £7.6 million in 2015/16. This reflects a general decline in investment Publicly owned national broadcasters and their film arms from EU structural funds across the UK’s screen sectors. also made substantial investments: Film4/Channel 4 provided funding of just over £25 million for UK film in 2017/18, while BBC Films/BBC provided funding of £11 million. Image: Peterloo courtesy of eOne Films 4 Table 1 Public funding for film in the UK by source, 2015/16 - 2017/18 (ranked by 2017/18 spend) 2015/16 2016/17 2017/18 Agency £ million % £ million % £ million % National Lottery Distribution Fund1 75.4 14.4 59.6 10.3 60.7 9.6 DCMS grant-in-aid 26.4 5.0 28.5 4.9 26.1 4.1 Film4/Channel 42 26.1 5.0 25.7 4.4 25.4 4.0 Northern Ireland Executive 13.0 2.5 11.4 2.0 13.7 2.2 BBC Films/BBC3 10.5 2.0 10.4 1.8 11.3 1.8 Arts Council England (ACE)4 4.7 0.9 13.1 2.3 8.0 1.3 European Union (EU) MEDIA sub-programme5 3.8 0.7 4.0 0.7 4.4 0.7 Scottish Government 5.1 1.0 3.9 0.7 3.9 0.6 Welsh Government 3.1 0.6 3.2 0.6 3.5 0.6 Higher education funding6 1.8 0.3 2.7 0.5 2.7 0.4 Local government7 0.2 <0.1 2.1 0.4 2.4 0.4 Foreign and Commonwealth Office 1.5 0.3 1.3 0.2 1.1 0.2 Other EU8 7.6 1.5 0.5 0.1 1.0 0.2 Department for International Trade 0.4 0.1 0.2 <0.1 0.2 <0.1 National/regional development agencies 1.7 0.3 0.1 <0.1 0.1 <0.1 Department for Business, Energy and Industrial Strategy 3.3 0.6 <0.1 <0.1 <0.1 <0.1 Other public sector9 0.1 <0.1 <0.1 <0.1 <0.1 <0.1 Total public sector selective investment10 184.7 35.3 166.7 28.7 164.7 26.0 UK film production tax relief 338.4 64.7 414.9 71.3 469.0 74.0 Total public sector selective and automatic 523.1 100.0 581.6 100.0 633.7 100.0 Source: Named funding sources, Creative Cultural Associates analysis Notes: 1 Allocations to BFI, Creative Scotland, Northern Ireland Screen, Ffilm Cymru Wales and Heritage Lottery Fund awards to film projects. 2 Includes Film4’s production investment and Channel 4 investment in NFTS. 3 Includes BBC Films’ production investment and BBC investment in the NFTS and film production schemes. 4 Includes ACE National Lottery investments (for example from Grants for the Arts) into moving image projects, plus National Portfolio Organisation investments attributable to film and the moving image, based upon ACE calculations. 5 The figures are for calendar years 2015-2017 and cover film investments only; they do not include the awards to non-British sales agents and distributors handling UK film exports to the EU reported in Table 2. Data provided in Euros and converted to British pounds. Exchange rates: 2015 €1= £0.85; 2016 €1= £0.88; 2017 €1=£0.89. 6 This comprises Higher Education establishment-derived support for film archives and the National Film and Television School. It does not include payments from educational funding councils to other film courses (film studies, etc.) in higher or further education. 7 Investment by local authorities in regional film archives, Creative England, Screen South and Northern Film + Media. 8 European Social Fund, European Regional Development Fund. 9 Very small awards (under £10,000) from a range of public sector agencies, mainly made to national/regional screen agencies. 10 Does not include transfers to and from reserves or earned/self-generated income. Figures/percentages may not sum to totals/sub-totals due to rounding. 5 SPEND BY AGENCY As in previous years, HMRC was the largest net spender on film in 2017/18 (£469 million for film tax relief), followed by the BFI (£100 million), Film4/Channel 4 (£25 million) and the NFTS (£15.2 million; this figure includes capital expenditure and income from student grants). Table 2 Net film spend by agency, 2017/181 £ million % HMRC 469.0 67.6 BFI 100.0 14.4 Film4/Channel 4 25.0 3.6 NFTS 15.2 2.2 Northern Ireland Screen 14.5 2.1 Scottish agencies2 11.6 1.7 BBC Films/BBC3 11.0 1.6 EU MEDIA sub-programme4 9.7 1.4 ACE5 8.0 1.2 Into Film 6.3 0.9 Welsh agencies6 5.5 0.8 Film London 5.8 0.8 Creative England 4.1 0.6 Screen Yorkshire, Screen South and Northern Film + Media 2.2 0.3 Creative Skillset7 2.2 0.3 English regional film archives8 1.9 0.3 British Council 1.1 0.2 Heritage Lottery Fund 0.4 0.1 Total public agencies9 693.6 100.0 Source: Named funding sources, Creative Cultural Associates analysis Notes: 1 Net spend means spend after deducting grants and awards to other organisations in this table. Figures are presented net to avoid double counting. Spend includes earned/self-generated income, commercial sponsorship, grants from trusts and foundations and transfers from reserves as well as income derived from public sector sources. 2 Includes film expenditure on the part of Creative Scotland and the National Library of Scotland Moving Image Archive. ³ Investment for the calendar year 2017. 4 Includes £5.3 million granted in support of UK films exported to the EU through schemes providing grants to non-UK distributors and sales agents handling British titles.
Load more

Recommended publications
  • A Culture Strategy for Scotland: Analysis of Responses to the Public
    A Culture Strategy for Scotland Analysis of responses to the public consultation: Full Analysis Report January 2019 Contents Introduction .............................................................................................................. 1 Background to the consultation ................................................................................. 1 Profile of respondents ................................................................................................ 1 Analysis and reporting ............................................................................................... 2 A vision for culture in Scotland ............................................................................. 4 Views of those who supported the vision .................................................................. 5 Views of those who did not support the vision .......................................................... 9 Ambition 1: Transforming through culture ......................................................... 10 Views of those who supported the ambition ............................................................ 11 Views of those who did not support the ambition .................................................... 17 Ambition 2: Empowering through culture ........................................................... 25 Views of those who supported the ambition ............................................................ 26 Views of those who did not support the ambition .................................................... 29
    [Show full text]
  • Statistical Yearbook 2019
    STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema
    [Show full text]
  • Creative Scotland and the Creative Industries
    Creative Industries A Strategy for Creative Scotland 2016-17 Appendix 4 CREATIVE SCOTLAND AND THE CREATIVE INDUSTRIES This appendix outlines some of the ways in which Creative Scotland has provided support for some sectors of the creative industries over the past few years. © 2016 Creative Scotland No part of this publication may be reproduced in any format without prior written permission of Creative Scotland. Equal opportunities Creative Scotland operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, Scots, in large print, Braille or audio format. Contact Enquiries on 0845 603 6000 Typetalk please prefix number with 18001 For BSL users, use www.contactscotland-bsl.org This document is produced in electronic form by Creative Scotland – please consider the environment and do not print unless you really need to. Please note that we use hyperlinks throughout this document (to link to other publications, research or plans) which won’t be accessible if the document is printed. Your feedback is important to us. Let us know what you think of this publication by emailing [email protected] CREATIVE INDUSTRIES STRATEGY APPENDIX 4 3 Scotland has developed particular expertise in sector development support for the creative industries with well-established organisations that benefit from a closely integrated community of small businesses, creative organisations and individuals. In terms of networks, WASPS provides a large network of 17 studio complexes across Scotland that house a wide range of creative businesses – over 800 tenants. In addition, the Cultural Enterprise Office provides business development support for creative practitioners and micro-businesses, while Arts and Business Scotland acts as a conduit between the cultural and business sectors, helping to nurture creative, social and commercial relationships.
    [Show full text]
  • Review of the Scottish Animation Sector
    __ Review of the Scottish Animation Sector Creative Scotland BOP Consulting March 2017 Page 1 of 45 Contents 1. Executive Summary ........................................................................... 4 2. The Animation Sector ........................................................................ 6 3. Making Animation ............................................................................ 11 4. Learning Animation .......................................................................... 21 5. Watching Animation ......................................................................... 25 6. Case Study: Vancouver ................................................................... 27 7. Case Study: Denmark ...................................................................... 29 8. Case Study: Northern Ireland ......................................................... 32 9. Future Vision & Next Steps ............................................................. 35 10. Appendices ....................................................................................... 39 Page 2 of 45 This Report was commissioned by Creative Scotland, and produced by: Barbara McKissack and Bronwyn McLean, BOP Consulting (www.bop.co.uk) Cover image from Nothing to Declare courtesy of the Scottish Film Talent Network (SFTN), Studio Temba, Once Were Farmers and Interference Pattern © Hopscotch Films, CMI, Digicult & Creative Scotland. If you would like to know more about this report, please contact: Bronwyn McLean Email: [email protected] Tel: 0131 344
    [Show full text]
  • Creative Scotland Annual Plan 2014-15
    Creative Scotland Annual Plan 2014-15 © 2014 Creative Scotland No part of this publication may be reproduced in any format without prior written permission of Creative Scotland. Equal opportunities Creative Scotland operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, in large print, Braille or audio format. Contact Enquiries on 0845 603 6000 Typetalk please prefix number with 18001 This plan is produced in electronic form by Creative Scotland – please consider the environment and do not print unless you really need to Your feedback is important to us. Let us know what you think of this publication by emailing [email protected] Cover: Artists Will Barras and Amy Winstanley painting a Rural Mural at Stranraer Harbour, part of Spring Fling. Photo: Colin Hattersley Contents 5 Introduction 13 Funding, Advocacy, Development and Influencing 15 Our Priorities Over the Next 3 Years 16 Our Priorities Over the Next 12 Months 20 Being a Learning Organisation 24 Our Current Policies 29 Summary Budget 2014-15 37 Planning and Performance 38 Performing Against Our Ambitions 2014-15 52 Delivering National Outcomes 1 Artist Alison Watt and Master Weaver Naomi Robertson, Butterfly tapestry, cutting off ceremony. Photo: courtesy of Dovecot Studios 2 3 Honeyblood at The Great Escape. Photo: Euan Robertson 4 Introduction A Shared Vision We want a Scotland where everyone actively values and celebrates arts and creativity as the heartbeat for our lives and the world in which we live; which continually extends its creative imagination and ways of doing things; and where the arts, screen and creative industries are confident, connected and thriving.
    [Show full text]
  • Review of the Film Sector in Scotland Creative Scotland
    Review of the Film Sector in Scotland Creative Scotland January 2014 This report was produced by: BOP Consulting (www.bop.co.uk) in partnership with: Whetstone Group (www.whetstonegroup.org) Jonathan Olsberg (www.o-spi.com) If you would like to know more about the report, please contact the project’s director, Barbara McKissack: Email: [email protected] Tel: 0207 253 2041 i Contents 4.6 Festivals ........................................................................................... 17 1. Executive Summary ............................................... 1 4.7 Archives ........................................................................................... 18 1.1 Introduction ....................................................................................... 1 4.8 Cultural impact of film ................................................................... 18 1.2 Watching film ..................................................................................... 1 4.9 Consultants’ assessment of the issues ..................................... 19 1.3 Learning about film .......................................................................... 1 1.4 Making film ........................................................................................ 2 5. Learning about film ............................................. 21 1.5 Earning from film – supporting enterprises and 5.1 Introduction .....................................................................................21 employment ......................................................................................
    [Show full text]
  • National Strategy for Scotland's Museums and Galleries
    GOING The­­­National­Strategy­for­ Scotland’s­Museums­and­Galleries fURTHER To SUccEEd aNd floURiSH we wILL aLL Need tO pLay Our part ScoTTiSH NaTioNal PoRTRaiT GallERy National Galleries of Scotland The­Scottish­National­Portrait­Gallery­re-opened­ on­1­December­2011,­following­a­two­and­a­half­year closure­and­an­ambitious­£17.6m­restoration­project. As­a­result,­a­much­greater­proportion­of­the collection­will­be­on­show,­bringing­to­light­a­wealth The­project­–­the­first­major­refurbishment­in­the of­art­works­that­has­been,­until­now,­largely­hidden­ Gallery’s­120-year­history­–­has­restored­much­of­ from­view. the­architect’s­original­vision,­opening­up­previously inaccessible­parts­of­the­building­and­increasing­ Reviews­and­feedback­have­been­overwhelmingly the­public­space­by­more­than­60%.­Access­to­the positive­with­more­than­52,000­visitors­going exhibition­spaces­on­all­three­levels­has­been­opened to­the­Gallery­during­the­first­month­of­opening. up,­while­the­restoration­of­the­magnificent­suite­of top-lit­galleries­on­the­upper­floor­has­created­one­of the­most­impressive­display­spaces­in­Scotland.­ www.nationalgalleries.org The­National­Strategy­for­ Scotland’s­Museums­and­Galleries Images courtesy of the National Galleries of Scotland © Chris Watt The National Strategy for Scotland’s Museums and Galleries gOINg The National Strategy for Scotland’s Museums and Galleries further Acknowledgements contents The development of this National Strategy for Scotland’s Museums and Galleries would not have 5 FOREWORD 34 AIm fIve
    [Show full text]
  • 1 Culture, Tourism, Europe and External
    Culture, Tourism, Europe and External Relations Committee Creative Scotland – Regular Funding 2018-21 Written submission from Robert Livingston Regional Screen Scotland made a successful application in this current round of Regular Funding, and we were awarded the full amount we had requested. Throughout, our main Creative Scotland contact has been as helpful and supportive as the process allows. Nonetheless, the process was not an easy one for a small organisation such as ours, and we believe that it is seriously flawed. The following are my comments on the issues raised in the Scottish Parliament consultation document. While they are my personal views, they have been discussed with members of my Board, which includes members involved with other Regularly Funded Organisations, and my Chair has approved their submission. The process of applying for Regular Funding for the 2018 - 21 period and your experience of that application process. The crucial flaw in the Regular Funding (RFO) application and assessment process is that it requires all applicants to be treated equally, i.e. as if they had not previously received Regular Funding, indeed, as if they had never applied to Creative Scotland (CS) before. As the outcome demonstrated, the reality is that the great majority of those who were awarded RFO status in the first round, went on to retain that status in this second round—some with increases, some with cuts, but most with standstill budgets. It could hardly be otherwise. Any greater degree of change would cause a huge, and damaging, upheaval across Scotland’s cultural infrastructure. So, it would be both more honest and more realistic for CS to admit from the outset that change will be limited, that a few new clients will make successful RFO applications, and that some existing clients may lose their RFO status.
    [Show full text]
  • Funding Creativity
    Culture Radar Funding Creativity An Internal Research and Discussion Paper to Inform Creative Scotland’s Funding Review Options Appraisal (Abbreviated) March 2019 1 Funding Creativity: An Internal Research and Discussion Paper to Inform Creative Scotland’s Funding Review Options Appraisal (Abbreviated) Prepared for Creative Scotland by Jeanie Scott, Culture Radar, March 2019 2 Contents Introduction & Background ....................................................................................................... 4 How to read this report ............................................................................................................. 6 Executive Summary .................................................................................................................... 7 Methodology ............................................................................................................................ 11 Section 1: Context for the Funding Review ............................................................................. 14 Section 1 Summary .............................................................................................................. 21 Section 2: Grant funding .......................................................................................................... 23 1. Arts council and creative agency funding ..................................................................... 25 2. Lottery grant funding ...................................................................................................
    [Show full text]
  • Equality Matters
    Equality Matters A Review of Equalities, Diversity and Inclusion in Scotland’s Screen Sector January 2017 © 2017 Creative Scotland No part of this publication may be reproduced in any format without prior written permission of Creative Scotland. Equal opportunities Creative Scotland operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, Scots, in large print, Braille or audio format. Contact Enquiries on 0845 603 6000 Typetalk please prefix number with 18001 For BSL users, use www.contactscotland-bsl.org This plan is produced in electronic form by Creative Scotland – please consider the environment and do not print unless you really need to. Please note that we use hyperlinks throughout this document (to link to other publications, research or plans) which won’t be accessible if the document is printed. Your feedback is important to us. Let us know what you think of this publication by emailing [email protected] Contents • Equality Matters: A Review of EDI in Scotland’s Screen Sector Contents Foreword 2 Executive Summary 5 1 Introduction 18 1.1 EDI context 19 1.2 Methodology 19 2 Pathways 21 2.1 Education 22 2.2 Schools 22 2.3 Learning outside formal education 23 2.4 Further and Higher Education 28 2.5 Skills Training 29 2.6 Talent Development 31 3 Practitioners 35 3.1 Scotland’s Screen workforce 36 3.2 Writers, Directors, Producers 36 3.3 Barriers to participation and progression 38 4 Audiences 40 4.1 On-screen portrayal 41 4.2 Exhibitors 43 4.3 Access 46 4.4 Programme diversity 48 4.5 Geographic provision 50 5.
    [Show full text]
  • SCMS 2019 Conference Program
    CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others.
    [Show full text]
  • Screen Agencies: an Overview
    Screen Agencies: An Overview Working Paper September 2017 EKOS Limited, St. George’s Studios, 93-97 St. George’s Road, Glasgow, G3 6JA Reg 145099 Telephone: 0141 353 1994 Web: www.ekos-consultants.co.uk Direct enquiries regarding this report should be submitted to: Brian McLaren, Managing Director, EKOS Email: [email protected] Tel: 0141 353 1994 As part of our green office policy all EKOS reports are printed double sided on 100% sustainable paper Contents 1. Introduction 1 2. Commentary 4 3. Agency Summaries 9 4. Tax credits 37 5. Final Comments 40 1. Introduction Context The current assignment was commissioned by Creative Scotland as part of a wider programme of work to inform the development of a Screen Unit within the organisation. In particular, the information reported here is intended to inform one of a number of work streams defined within the overall programme – the Strategic Approach Work Stream. The Strategic Approach Work Stream is examining comparable and alternative strategic approaches to address the issues affecting the screen sector in Scotland, and deliver positive change through the opportunities presented by the Screen Unit project. The primary deliverable of the Strategic Approach Work Stream will be a paper containing: • a summary of three relevant international approaches/ strategies to deliver growth in Screen Sector strength, capacity and impact together with economic, cultural and social benefits; • critical ‘gap’ analysis of application within a Scottish context and objectives for the Screen Unit Project; and • a maximum of three options for a Strategic Approach for Scotland. Study Brief The brief for the current project was to gather information on screen agencies in the following nations/ regions: • Northern Ireland • Australia • Republic of Ireland • Denmark • Wales • Vancouver In particular, Creative Scotland provided a list of questions/ issues to be covered, as follows: • how does each territory structure its approach to Screen e.g.
    [Show full text]