Media Magazine Articles: The Dark Knight and Hollywood's Lack of Original Ideas

The theme for the April edition of Media Magazine was ideas. I decided to try and submit two pieces for this issue and was successful at getting them both in.

The first article is on the simple idea that Hollywood is running out of ideas due to all the endless remakes, reboots, recycling, rehashing and repeating that is going on in modern Hollywood.

The second is on the ideology of Christopher Nolan's Batman trilogy and whether the films really are as right wing as many have suggested they are.

As usual the design and layout of the articles is gorgeous and I'm very proud to have my writing featured in the magazine. If you want to subscribe to Media Magazine, then please click here.

Funding and Ownership of the Film Industry

For my article on funding and ownership of the TV industry, please click here.

I'm starting a new unit with my media students on Monday that I have never taught before. It's called Understanding the Film and Televsion Industries and their first assignment will be to look into the funding and ownership of these two media industries. In order to get a few things straight in my head and ensure that I know what I'm talking about before trying to teach them, I thought I'd give the first assignment a go myself. So here is part one on the funding and ownership of the film industry and I will try to keep ahead of the students by producing part two on the television industry asap!

The film and television industries in the UK and the US are made up of many companies that are all owned and funded in many different ways. I will first discuss the film industry and then move on to the television industry, focussing on the ways these two similar but different media industries are funded and owned in the UK and the US, referring to a range of contemporary and historical examples.

FILM INDUSTRY

The film industry in the UK is made up of a number of different parts. There are companies that are involved in Development, Production, Facilities, Distribution, Exhibition and Export. Skillset’s most recent research shows that there are ‘around 400 'permanent' (i.e. registered) companies in the film industry’ but this number can vary depending on how many film productions are being worked on in the UK at any time. Their research also shows that of these companies, ‘43% are production, 13% are distribution and the remaining 44% are exhibition companies’, meaning that much of the distribution side of the film industry is likely funded by foreign companies, often Hollywood studios that help to sell British films to US and international audiences.

               

The British film industry does not have quite the same power and wealth as the big Hollywood studios and therefore depends much more on public funding and financial aid from government intervention. In 2012 it was announced that ‘some £285 million of National Lottery money is to be put into the British film industry over the next five years’.  The British Film Institute (BFI) will determine how this money is spent after taking over funding responsibilities from the UK Film Council which no longer exists. Though there will be spending in other areas, much of the funding will be put into the production and development of future British films.

The producers of The King’s Speech for example had to scrape together the approximately £10 million budget from the following companies:

Weinstein Company, The (presents)

UK Film Council (presents)

Momentum Pictures (in association with)

Aegis Film Fund (in association with)

Molinare Investment (as Molinare, London) (in association with)

FilmNation Entertainment (in association with)

See-Saw Films (as See Saw Films)

Bedlam Productions (as Bedlam)

Some of these companies, for example the American The Weinstein Company, would invest in production in order to gain the distribution rights and therefore a larger share of the profits when it is released. ‘The Weinstein Company (TWC) is a multimedia production and distribution company’, independently funded by its own profits, and ‘also active in television production’ showing it is both vertically and horizontally integrated. Vertical integration is where ‘a company expands its business into areas that are at different points on the same production path’ so when a film company owns the means to produce films and then also the means to distribute them, it is said to be vertically integrated. TWC is also horizontally integrated because it has acquired ‘additional business activities that are at the same level of the value chain in similar or different industries’. Not only can it produce films but it has also expanded into producing television shows as well.

Concerns were raised in the past about the major Hollywood studios’ oligopoly over the film industry. The so called ‘big 5’ studios were vertically integrated to the point where they owned the means to produce, distribute and exhibit their own films which meant that other films did not have a chance against the poser of these big studios. The Paramount Decree passed in 1948 meant that the studios had to sell their cinema chains as this much vertical integration was seen as anti-competitive and therefore made illegal, diminishing the power of the old Hollywood studios.

However despite these moves to stop excessive levels of vertical integration, the film industry is still dominated in the US and UK by global companies such as Time Warner. Warner Bros. Pictures is a subsidiary of the global conglomerate Time Warner and produce films such as the Harry Potter franchise. But Time Warner also owns HBO, ‘the world's most successful pay-tv service’, the Turner Broadcasting System that ‘operates worldwide news, entertainment, animation, young adult & kids media networks and related businesses’ and Time Inc who are ‘one of the largest branded media companies in the world, with a portfolio of 96 titles’ which means they are horizontally integrated over television, film and print media. Warner Bros operates internationally all over Europe, Latin America, Japan and Australia leading to some concerns over huge companies like this and their potential influence over a global audience.

Bibliography so far:

http://www.creativeskillset.org/film/industry/article_6763_1.asp

http://www.bbc.co.uk/news/entertainment-arts-18056288

http://www.imdb.com/title/tt1504320/companycredits?ref_=tt_dt_co

http://www.boxofficemojo.com/movies/?id=kingsspeech.htm

http://weinsteinco.com/about-us/

http://www.investopedia.com/terms/v/verticalintegration.asp#axzz2Lir65Yba

http://www.investopedia.com/terms/h/horizontalintegration.asp#ixzz2LirnDseg

http://www.timewarner.com/our-content/

 

 Part two on the television industry coming soon!

The Relationship between Production Contexts and Films: Hollywood vs. Britain Part 3

This is another blog for my students of film and media.  Following on from my case study blogs on Prometheus, Juno and Attack the Block recently, this is the final part of an essay explaining how the Hollywood and British production contexts differ and how these production contexts can affect the films that are produced. Part 1 of this essay on Finance, Production, Technology is here and part 2 on distribution and exhibition is here.

Trends and Genres

Both films are part of the science fiction genre which is consistently popular with mainstream audiences.  Prometheus is part of a trend in Hollywood to make sequels and prequels to existing popular films whereas Attack the Block is more unique.  Prometheus would get more of a budget invested in it because people are aware of the Alien films and they are already a popular series.  Attack the Block is riskier as it has no built in audience except perhaps Nick Frost’s fans and people interested in the science fiction genre.  Generally British films are less likely to follow trends and be a bit more unique.  They are more likely to deal with real situations and characters in the social realist tradition.  Attack the Block has elements of this with its working class characters but also takes science fiction genre conventions to make it a more appealing bit of escapist cinema.   

 Social and Political Issues

A British film like Ken Loach’s Sweet Sixteen is a better example of social realist cinema.  This is film is unique and in no way tries to appeal to a mass audience.  It is about a young man in Scotland and his struggles with unemployment, poverty, drugs and crime.  It has no stars, a premiere in Glasgow (near to where the film was shot) and favours unknown actors over international stars.  The audience will be small as this is a film that does not offer any escapism, spectacle, beautiful stars or happy endings.  As a result it is made on an extremely low budget.

Stars

Stars such as Charlize Theron and Michael Fassbender can be used by blockbusters for promotion in marketing materials, at premieres and can often help the film to appeal to the target audience.  For example Arnold Schwarzenegger appears in many action films and his face on a poster can help the film sell to action fans.  Nick Frost helps Attack the Block to appeal to fans of Shaun of the Dead and he is featured a great deal in the trailer and posters.  Sweet Sixteen on the other hand has no stars to aid in its realist depiction and the main actor Martin Compston is a non-professional chosen because he basically leads the life of the main character.

Regulatory Issues

Hollywood films often work with the MPAA and BBFC to ensure that their film will be passed by these regulatory bodies with an appropriate rating.  As Hollywood films need to make huge amounts of money at the box office to make a profit, the producers are often willing to trim scenes and ensure their film gets a low rating to encourage families to see it.  There was some debate over whether Prometheus would receive a 15 rating or lower.  Fans of Alien wanted the film to have a higher rating but Fox who invested in the film wanted a lower rating so more people could see it and they could make more money.  Similarly film franchises like the Die Hard and Terminator series have become progressively more family friendly as they have continued in order to draw in wider audiences.  

Attack the Block had less money to make and therefore the producers accepted the decision for it to be rated 15.  Sweet Sixteen is rated 18 by the BBFC for the continuous use of very strong swear words.  Although director Ken Loach wanted the film to be seen by the target audience of sixteen year olds it was aimed at and who would most identify with it, he refused to change anything to get a lower rating.  He felt the language was realistic and relatable and less offensive to people in Scotland that are depicted in the film.  The BBFC would not budge but the local council of Inverclyde where the film is set overturned the ruling and gave it a fifteen rating so younger people could see it.

Conclusion

Hollywood, independent and British films are very different in many ways.  Although British films are attempting to become more commercial and Hollywood studios distribute some independent and British films that they thing will make a profit, there are still many films getting made for niche audiences on very low budgets. With the UK Film Council being a thing of the past, British films will have to be more commercial in order for the industry to survive.  This may mean more British films that attempt to follow trends and fit in clearly defined genres and lose some of their distinctive Britishness.  Social realist films like Sweet Sixteen always struggle to compete with Hollywood blockbusters but without government support for smaller and more realistic British films, they may in future have an increased struggle to get funded in the first place.

The Relationship between Production Contexts and Films: Hollywood vs. Britain Part 2

This is another blog for my students of film and media.  Following on from my case study blogs on Prometheus, Juno and Attack the Block recently, this is the second part of an essay explaining how the Hollywood and British production contexts differ and how these production contexts can affect the films that are produced. Part 1 of this essay on Finance, Production, Technology is here.

Distribution and Exhibition

Distribution techniques for Hollywood and British films differ in many ways, mostly due to the marketing budgets of the films.  Prometheus was one of the first movies to have a ‘trailer preview’.  Ahead of the launch of the official trailer release, a preview featuring director Ridley Scott was released to let fans know that the anticipated trailer would be released in three days’ time.  Also the producers of the film made a series of videos especially shot to be released on the internet and to potentially be spread by movie lovers virally.  ‘In concert with the movie's traditional marketing effort, which includes the trailer, Scott and 20th Century Fox have pursued a second, more innovative path to publicity. It began unexpectedly at this year's TED conference, with a presentation by entrepreneur Peter Weyland’ (Gomez, 2012) who is a fictional character from the film.  This series of viral videos extend the story and universe of the film in the same way as viral marketing for previous Hollywood blockbusters such as The Dark Knight and Cloverfield had done.  The traditional trailers emphasized the science fiction elements as well as the links to Alien and the fact that Ridley Scott was returning to science fiction.  There was also a great amount of spectacular imagery and action elements emphasized in the trailer and poster.  The use of stars in the marketing also would help the film to appeal to an international audience.

Attack the Block on the other hand uses its only star Nick Frost, the science fiction genre elements and ‘from the producers of Shaun of the Dead’ as selling points to be highlighted in much of the marketing.  Nick Frost has some international recognition from Shaun of the Dead but will also help the film a great deal in Britain.  The distinctive British location, language and characters are also emphasised and this could be a draw for some audiences but also could put off a wider audience, unfamiliar with the language of Britain’s youth.  There was even talk of subtitling the film for US audience.  Film festivals are often essential for spreading word of mouth about smaller films.  They can win competitions, awards and gain valuable attention from film fans and the press.  A screening at SXSW film festival helped Attack the Block to secure distribution in North America.  The marketing strategy included posters, trailers, t-shirts and TV spots but was nowhere near as massive as the promotion of Prometheus.

Prometheus’ was released on 3396 screens in the US on its opening weekend allowing as many people to see the film early in its release as possible.  Hollywood blockbusters spend so much on marketing a film in the lead up the opening weekend in an attempt to make their money back as quickly as possible.  This saturation release strategy works well for blockbusters with mainstream appeal.  The stars of the film attend premieres in order to get more written about the film in the media.  Charlize Theron, Michael Fassbender and director Ridley Scoot all attended various screening and did interviews to help promote the film.

Attack the Block on the other hand had very low opening weekend figures in terms of box office and number of screens.  It was released on far fewer screens than a Hollywood blockbuster would be with around 350 screens in the UK and only 8 in America.  The distributors will hope for the release to go wider as word of mouth spreads as they will not spend as much on marketing as the biggest blockbusters do.  It premiered at a film festival in America as well as in Leicester Square in London with stars in attendance.  The premiere of Attack the Block is unlikely to attract the same amount of media attention as Prometheus’ premiere because the stars are not as internationally recognised.

Part 3 on trends, genres, social issues and regulatory issues is here.

The Relationship between Production Contexts and Films: Hollywood vs. Britain Part 1

This is another blog for my students of film and media.  Following on from my case study blogs on Prometheus, Juno and Attack the Block recently, this is the start of an essay explaining how the Hollywood and British production contexts differ and how these production contexts can affect the films that are produced. 

The Hollywood and British production contexts have many differences and can produce very different films.  There are a number of factors that affect the relationship between production contexts and films and these include finance, technology, social and political issues and use of stars.  The Hollywood production context has changed a great deal since the ‘Golden Age’ when all the studios were vertically integrated and the ‘Big 5’ had full control and dominance over the production, distribution and exhibition of films.  Now there are a greater number of studios in Hollywood that are producing films such as DreamWorks and Sony Pictures Studio as well as Paramount and Warner Brothers and others that survived from the ‘Golden Age’.

 Finance, Production, Technology

Finance has a huge impact on the relationship between production contexts and films.  Hollywood is known for making massive budget, special-effects and star filled blockbusters.  Prometheus is a perfect example of this.  It had a budget of approximately $130,000,000 and grossed over $402,000,000 at the worldwide box office.  The companies that invested in its production are Twentieth Century-Fox Film Corporation, Brandywine Production, Dune Entertainment and Scott Free Corporations.  These companies would have considered investing so much money because of the blockbuster appeal that the film would have.  They can afford to take big risks by investing into huge budgets but they reduce the risk by working with stars and directors that they know have a reputation of making profitable films with international appeal.  Prometheus had internationally recognisable stars like Guy Pearce, Charlize Theron and Michael Fassbender.  It has quite a complex storyline for a blockbuster that is hard to understand.  This might reduce its appeal compared to some simpler blockbusters but the visuals and spectacular special effects will also help it to appeal to a wide audience, despite its thoughtful themes.  It also has a star director, Ridley Scott, who had made some very profitable films previously such as Gladiator and Alien.  This also showed that he could handle the special effects that would be required in Prometheus and would be a key part of the marketing campaign. 

The British film Attack the Block had a low budget compared to Hollywood blockbusters but a bigger budget than the smallest independent films like The Blair Witch Project with a budget of $60,000.  $13 million was invested into the production of Attack the Block but it only made nearly $6 million at the worldwide box office, meaning the film made a loss.  The film only had Nick Frost as a star and he is not that well known compared to the biggest A-list stars in Hollywood.  The filmmakers would have struggled to raise the budget as there is less chance of big international box office without internationally recognised stars.  Also director Joe Cornish had never made a feature film before and the subject is very distinctly British in terms of characters and locations.  Investors would normally be reluctant to give first time filmmakers £13 million to make a British film with a cast of mostly unknowns, set in a tower block and featuring characters that open the movie mugging an innocent nurse.

However Joe Cornish has had a great deal of experience in television and has developed a strong following with his radio and television shows.  He is also co-writing Spielberg’s latest film with Edgar Wright who recently had a huge international hit with Shaun of the Dead.  Like that film, Attack the Block takes very English characters, stars and settings and mixes them with a popular genre.  So the science fiction element could help to draw in bigger crowds and therefore make investors feel more comfortable putting in £13 million.  Also casting Nick Frost might draw in international fans of Shaun of the Dead, helping Attack the Block sell worldwide.  It was funded by Studio Canal, Film 4, the UK Film Council and Big Talk Productions. There was no funding from the Hollywood studios and it was mostly financed by British companies and the UK Film Council which is a funding body set up to help produce films that promote British culture and tell British stories.  Interestingly two of these companies are very involved in television which suggests Joe Cornish is likely to have had a working relationship with them before shooting his first feature film.

Prometheus was all shot in 3D and with IMAX technology and uses a mixture of computer generated and practical effects.  This makes it even more expensive to produce but also gives it more appeal to huge audiences as it promises great spectacle and the latest in cutting edge technology.  It is a science fiction film that takes place on distant planets and features numerous alien life forms, explosive set-pieces and space ships and other computer-generated special effects.  This focus on spectacle helps the film to sell to an international audience and to have a mass appeal.  Audiences see the marketing and expect something spectacular and out of this world. 

Similarly Attack the Block also combines practical and computer generated effects for its alien creatures.  Director Joe Cornish had a much lower budget so had to limit the CGI and work more with traditional techniques.  He said ‘they designed this terrific costume-suit, and then we shot that, and then there’s a little bit of enhancement by a company called Digital Negative, and a very brilliant European company called Fido. So the end result is a combination of practical, with a little bit of digital’ (Den of Geek).  Attack the Block was shot on locations in and around London to add to the realism.  This also makes it stand out from much of Hollywood’s science fiction output including Prometheus which was mainly shot at Pinewood studios.  It also will save the producers of Attack the Block money as fewer sets have to be built.

 Part 2 on Distribution and Exhibition is here.