Film Council Research Articles

미디어 융합 시대 영화 지원체계 및 거버넌스에 관한 연구 - 프랑스 CNC와 영화진흥위원회를 중심으로

미디어 융합 시대 영화 지원체계 및 거버넌스에 관한 연구 - 프랑스 CNC와 영화진흥위원회를 중심으로

청소년 영화교육 정책에 관한 고찰

In this study, we focus on the Korean Film Council (KOFIC)’s film education policy research since the 2010s. Our examination delves into the policies aimed at revitalizing film education for the general public by highlighting their significance and identifying limitations, and ultimately proposes a new plan. Initially, KOFIC’s film education policy research is noteworthy for its role in making film education more accessible to the public. Achievements include the establishment of a film education curriculum and the operation of a film education focus school. However, certain limitations exist. The implementation capacity to support the research findings was insufficient, and the film education focus school was discontinued without the possibility of further expansion. Additionally, there is a sense of regret regarding KOFIC’s perception of film education, which remains predominantly at the industry level. A shift in policy is therefore imperative to rejuvenate film education in the future. The proposed changes are as follows. First, focus should be on policy research and textbook development, effectively utilizing currently available resources. Second, efforts should be directed toward establishing a robust network of teachers and lecturers involved in film education. Third, a fundamental shift is needed in the perception of film education. By implementing these changes, we aim to address the shortcomings identified in KOFIC’s film education policy and pave the way for a more comprehensive and effective approach to public film education.

French connection UK: the Dinard film festival and the politics of culture

ABSTRACT This article looks at the thirty-year history of the Dinard Film Festival (until 2018, the Dinard Festival of British Film), with a particular focus on the financial support provided by bodies with industrial and/or cultural remits: specifically, the UK Film Council, the British Council and the British Film Institute. As I discuss, Dinard is a significant case study for understanding the British film-industrial relationship with France, but also for analysing the interrelationship between economic and cultural policy-making in the British film industry. As I also argue, looking at the history of the Dinard festival offers a significant example of the ways such showcases for ‘national cinema’ are bound up with the shifting contexts of film-industry policymaking. As I conclude, the changing economic fortunes in British film, and the economic contexts informing UK film policy, have not only impacted on Dinard, but also given the festival a renewed outlook – as well as a more political one in the recent contexts of the UK’s EU referendum and ‘Brexit’.

Can you see what I see? Differing perspectives between low and micro-budget filmmakers and film development agencies

<em>Low and micro-budget filmmaking is less documented than mainstream cinema, and as such, less understood. There is a need for more research into all aspects of low and micro-budget cinema, as it is often the portal through which some filmmakers will pass on the way to bigger things. This paper uses a comparative literature approach to explore two texts from different perspectives of low and micro-budget filmmaking; John Connors' acceptance speech for Best Actor at the Irish Film and Television Academy Awards in 2018, and the UK Film Council's 'Low and Micro-Budget Film Production in the UK' report from 2008. The aim is to understand: is there a different perspective between the low and micro-budget filmmaker and the state development agency that seeks to support filmmaking? The conclusion identifies some differences in perspective and argues that it is due to a lack of understanding about each party that creates the friction.</em>

Kolegium Filmowe 2014–2015: TVP w służbie kinematografii

The article discusses the functioning of the Film Council during its activity in Telewizja Polska in 2014–2015. In less than two years the Council consisting of over a dozen members from several TVP’s departments recommended almost forty coproductions for feature films, regulated procedures for the endorsement of coproduction agreements and aimed to develop TVP’s influence in the process of film promotion and distribution. According to Polish film law, the Council’s job was to stimulate the development of the Polish cinema.

Cultural discourses and practices of institutionalised diversity in the UK film sector: ‘Just get something black made’

‘Diversity’ is an evolving dimension of discursive debates within publicly funded parts of the UK media. This article considers how representations of racial diversity in cinema were articulated in a particular moment in recent history. It traces the relationship between the broader New Labour neoliberal agenda of the late 1990s and the UK Film Council’s (UKFC) New Cinema Fund, the key funding mechanism for supporting black British cinema at the time. The authors suggest that the New Cinema Fund’s ‘institutional diversity’ agenda represented a symbolic effort by both the UKFC and UK public service broadcasters to redevelop black British film vis-a-vis a plethora of cultural imperatives oriented around the notion of ‘social inclusion’. The nature of this intervention, it is argued, was strongly influenced by the 1999 Macpherson Report, which identified ‘institutional racism’ within the fabric of the UK’s organisations. The article examines how such an ‘institutional diversity’ agenda emerged within the production context of a BBC Film/UKFC production, Bullet Boy (2005), thus generating a rearticulated black British cinema that was deeply imbricated in the highly politicised contexts outlined.

The UK Film Council and the ‘Cultural Diversity’ Agenda

From May 2000 until its demise in 2011, the UK Film Council (UKFC) was the main film funding body in the United Kingdom. While many critics have analysed the economic successes and failures of individual films that it funded over this period, little has been written about its influence on the UK film industry more broadly. Of the handful of articles that have addressed this area, the question of the diversity of the UK film industry, and the UKFC's alleged failure to make it more accessible, is a consistent theme, supported by damning data from Creative Skillset and the UKFC's own reports, which suggest that in many areas the industry is even less diverse now than it was when the UKFC was first established. Yet despite this evidence, there has until now been no engagement with the views of the staff actually making funding decisions at the UKFC. This article attempts to redress this oversight, by augmenting existing data with interviews with former leading figures in the UKFC's script development and diversity departments, in order to present a richer picture of the issues surrounding UK film funding and the ‘cultural diversity’ agenda. In so doing, I seek to unpick some of the common critiques levelled at the UKFC's record on diversity, and explore why the numerous measures that it put in place failed significantly to change the composition of the UK film industry.

Book Review: The Rise and Fall of the UK Film Council

Book Review: The Rise and Fall of the UK Film Council

Book Review: Gillian Doyle, Philip Schlesinger, Raymond Boyle and Lisa W Kelly, The Rise and Fall of the UK Film Council

Book Review: Gillian Doyle, Philip Schlesinger, Raymond Boyle and Lisa W Kelly, <i>The Rise and Fall of the UK Film Council</i>

Gillian Doyle, Philip Schlesinger, Raymond Boyle and Lisa W. Kelly, The Rise and Fall of the UK Film Council

Gillian Doyle, Philip Schlesinger, Raymond Boyle and Lisa W. Kelly, <i>The Rise and Fall of the UK Film Council</i>

15세관람가 영미권 DVD의 나쁜 언어(bad language) 자막번역 연구

There is a constant string tension between movie importers/distributors and the Korea Media Rating Board (hereafter KMRB) as to which rating an imported movie would be labelled, because the rating has a decisive impact on the ticket power and profit in South Korea (Park, 2013; Korean Film Council, 2014). Although ‘violence’ and ‘sexuality’, the two critical factors of Korean movie ratings as stipulated by the KMRB, can be judged not only by the screen but also its linguistic embodiments, few studies have addressed how the Korean subtitles of ‘bad language’ (Dobao, 2006), including choices of ellipsis, may influence the ratings in the South Korean context. With its focus on English DVDs rated as ‘PG15’ in South Korea, equivalent to ‘PG13’ in the US, this study explores Korean subtitles of English bad languages and their acceptability, influenced by, and dependent on, the rating. It focuses especially on the criterion of vulgarity of lines, one of the 7 criteria that KMRB stipulates for the movie rating. The study reveals KMRB’s very low acceptance tendency of sexual intercourse terms, resulting in increasing the rating of vulgarity of lines. In contrast, KMRB is tolerant of words containing violent semantic components, such as “shit” and “damn”.

Interview with Cecile Starr

Cecile Starr was born in Nashville, Tennessee, on July 14, 1921, and she died in Vermont on December 9, 2014. During World War II she worked at the Australia News and Information Bureau, associated with the Office of War Information and at the March of Time as she moved amongst the greats of documentary filmmaking of the period and Greenwich Village: John Grierson, Robert Flaherty, Damien Parer, Alexander Hammid, Joris Ivens, Helen van Dongen, Raymond Spottiswoode, Helen Levitt, Henwar Rodakiewicz, Willard Van Dyke, Boris Kaufman, Irving Jacoby, Ricky Leacock, and Aram Boyajian, whom she married in 1957, as well as James Agee and Iris Barry. In 1949, Starr started writing film reviews for the Saturday Review of Literature, taught film and film history in the Graduate Program from 1955 to 1961 at Columbia University, and created and coordinated school film programs for the Lincoln Center Education Department from 1967 to 1968. During this period she was particularly active contributing to Sight and Sound, Film Quarterly, and Filmmakers Newsletter. She was an instructor and consultant in film and film history at the New School for Social Research and Hunter College in New York City, the New York Society of Ethical Culture, Metropolitan Museum of Art, and Walden High School. Starr also consulted for the United Nations World Health Organization, the Institute of Adult Education, the Public Library Inquiry, the Film Council of America, and the Mental Health Film Board. As producer, scriptwriter, and consultant on four films including Fellow Citizen: A. Lincoln (1972), Islamic Carpets (1970), Richter on Film (1972), and Rembrandt and the Bible (1967), Starr turned her scholarly interest in film to a practice born out of her research. Starr also published the books Experimental Animation: Origins of a New Art (1968) (with Robert Russett), Ideas on Film: A Handbook for the 16mm Film User (1971), and Discovering the Movies: An Illustrated Introduction to the Moving Image (1972).Cecile Starr: Let's go backwards a little. You asked how I got into this. My first real job was at the Australian News Bureau. I got that because a fellow I had known in college at Louisiana State University, he came up to New York at the same time I went to Columbia graduate school. He was going to Harvard business school. He introduced me to his sister. His name was Peter Fritsch, her name was Mia Fritsch, and she had just met a new boyfriend whose name was Jim Agee. I went to dinner at Mia's house with Peter. Jim was there and was very much in love with Mia. Though he was married and had a previous wife divorced and he was young, the relationship with Mia lasted the rest of both their lives. Peter and Mia's brother, the Fritsch family, were kind of early refugees from Nazi Austria. Their brother, Henry, was married to an Australian woman whose name I forget. She was working for the Australian News and Information Bureau, but she came down with TB [tuberculosis] and her doctor said she had to have bed rest for a year. So I was looking for a job, and they asked me if I would take her job. Her job was listening to recordings. This was now 1942, and the recordings were from the Australian government, which were newscasts about what was going on in the war in the South Pacific area where we had some bases and other European countries had some territories. New Guinea. Was it the Dutch that had divided up that place? I started listening to recordings, which were the size of big dinner platters. They were brought in by truck every morning from Montauk, the far end of Long Island. They were received by radio and recorded because it got a clearer sound than if it was recorded in the city. It was from Australia. I then took these recordings about 10 o'clock in the morning and played them on a transcribing machine, typed them out. Then we called the messenger, and the messenger took them by hand to the New York Times, the New York Herald Review, and the New York Daily News. …

Digital divides? UK Film Council strategy and the digital screen network

Abstract In retrospect it is easy to identify digital technology and the disruptive nature of the Internet as two key factors shaping the broader screen landscape over the last decade or so, but how did organizations deal with that process at the time? This article examines the role that digitization and its wider ramification across the UK film industry’s patterns of distribution and exhibition played in both the strategic thinking and the operational practice of the UK Film Council (UKFC) during its lifetime (2000–2011). It draws on interviews with key policy shapers and asks whether the UKFC was too slow to identify the transformative impact that digital would have on all areas of the film industry. By focusing on the origins and implementation of the Digital Screen Network, this article examines the impact of this programme on the UK film industry. It also offers insight into the organizational challenges of shaping digital film policy in an international industry.

Professionalising the British film industry: the UK Film Council and public support for film production

This article examines the UK Film Council’s objective to reorganise and reallocate public funding for film from 2000 onwards. I argue that the model adopted by the UKFC was innovative on two levels. First, it separated public funds available for film production into three separate streams and then hired industry professionals to head each individual fund. I also examine how the funds developed over the lifetime of the organisation, with each appointed head shaping the principles of their respective funds in accordance with the wider objectives of the UKFC. Drawing on strategy documents, internal papers and interviews with key personnel, I argue that the UKFC worked to position itself as a ‘vanguard organisation’ seeking to shake up an independent sector seemingly reliant on state handouts and introduce a commercial perspective to the industry. This mission met an abrupt end, however, when the incoming Coalition government closed down the organisation in 2010.

Diversity pie: rethinking social exclusion and diversity policy in the British film industry

The objectives of this article are to expand the stock of knowledge on the subject of social exclusion and film diversity policy in the British film industry, through the investigation of the concept of diversity and its dominant expressions in language and practice. Rather than about bringing about structural change, diversity policy under the UK film Council falsely separated exclusion from its broader, socio-political realities and proved deeply incompatible with the imperative of equality of opportunity. To this end, it will be argued that the concept of cultural capital, while underdeveloped, has a valuable and distinctive part to play in future policy research into social exclusion within the film sector.

The “Family Film” as Amateur Production Genre: Frank Marshall's Comic Narratives

The “Family Film” as Amateur Production GenreFrank Marshall’s Comic Narratives Ryan Shand (bio) [End Page 1] Frank Marshall (1896–1979) was one of the most well-known figures in postwar Scottish amateur film culture. He was involved in developing the remarkable infrastructure that amateur cinema enjoyed in Scotland as the first chairman of the Scottish Association of Amateur Cinematographers (SAAC) when it was formed in 1949 and as a member of the board of the Scottish Film Council until 1972. Tom Clark, former secretary of the SAAC, compared Marshall’s central role within amateur filmmaking in Scotland to the influence that John Grierson exerted on the professional industry.1 Furthermore, Frank Marshall was one of the most active participants in postwar Scottish amateur film culture, responsible for making approximately seventy-seven short films. One recurring preoccupation within this vast body of work was what then was known to its practitioners as family films, a category featuring family members, close friends, and/or pets, which tend to be shot either at the filmmaker’s home, in his or her garden, or on vacation. Family films can be either fiction or nonfiction. Marshall’s family films, in particular, expand moments captured in private cine recordings into planned linear comic narratives. These films provide an opportunity to examine the intersection between the domestic focus of the family as subject and the aesthetic expectations for the genre that prevailed at amateur cine contests. I will show that the family film was championed as a hybrid form that could be celebrated as the emblematic genre of amateur cinema. Examples of family films, in particular, those of Marshall, were recurrently employed by the movement’s champions and critics to illustrate the distinctive nature of the sector to wider audiences. Marshall’s reputation in turn encouraged other amateur filmmakers to attempt their own variations on the genre as it became a formalized category in amateur film competitions, both in Scotland and internationally. This case study demonstrates that some aspects of methodologies that have been developed to analyze commercially released feature films may also be applied to the creative works of nonprofessional filmmakers. Marshall’s amateur films raise questions of authorship, genre, and pragmatic analysis—approaches that have been well rehearsed in studies of feature films. Dana Polan reminds us that studies of authorship require critical engagement with archival resources to provide historical context: A related aspect of auteurism today has to do not simply with the reincarnation of older auteurist methods but their refinement or even transformation. . . . New advances in historiography (for example, the potentials that gritty archival work offers) have led, in contrast, to a greater concreteness and detail in the examination of just what the work of the director involves.2 [End Page 2] Frank Marshall, accordingly, may be studied as an example of an amateur auteur—that is, as a director who exhibits stylistic continuity but is also significant because he or she influenced a particular genre of film.3 In both the amateur film press and in later archival cataloging, a film “in the Frank Marshall style” is shorthand indicating peculiar personal idiosyncrasies and certain generic qualities that other filmmakers sought to replicate and refine.4 Click for larger view View full resolution Figure 1. Frame enlargement from ARP: A Reminder for Peacetime (Frank Marshall, 1940). The Marshall family from left to right: Muriel, Chrissie, Nairn, and Frank. From the collection of the Scottish Screen Archive at National Library of Scotland copyright NLS. Marshall’s films are often centered on his immediate family: his wife, Chrissie, daughter Muriel, son Nairn, and, later, his grandchildren.5 Most of his films are variations on a few familiar themes that give them a distinct authorial signature. The comic narratives that incorporate these domestic preserves are slight tales spun around small incidents that disrupt the tranquility of home life in Whitecraigs (a suburb on the south side of Glasgow) before equilibrium is happily restored. The mode of production specific to amateur cinema meant that “cinedads,” as George Wain called them, could integrate family members into their films as a pragmatic way to recruit and retain actors.6 Children are readily available and often can be...

Principles for a second century of film legislation

Following a century of legislation about film and the film industry in the UK, and the latest in a series of reports on ‘film policy’, this paper investigates the relationship between law, policy and film. Case studies on the definition of ‘film’ in a time of technological and cultural change consider the privileged position of the cinema in terms of censorship and tax, including the new phenomenon of ‘alternative content’; that is, live relays of theatrical performances. Institutional change is assessed and criticised, particularly the abolition of the UK Film Council and the steady move from statute to executive action. The paper sets out a case for the role of the state to be set out in legislation and the cultural consequences of legal definitions to be taken more seriously.

Film Support and the Challenge of ‘Sustainability’: On Wing Design, Wax and Feathers, and Bolts from the Blue

In recognition of the importance of film in generating both economic and cultural value, the UK Labour government set up a new agency – the United Kingdom Film Council (UKFC) – in 2000 with a remit to build a sustainable film industry. But, reflecting a plethora of differing expectations in relation to the purposes behind public support for film, the UKFC's agenda shifted and broadened over the organisation's lifetime (2000–11). Apparently unconvinced by the UKFC's achievements, the Coalition government which came to power in May 2010 announced the Council's abolition and reassigned its responsibilities as part of a general cost-cutting strategy. Based on original empirical research, this article examines how the UKFC's sense of strategic direction was determined, how and why the balance of objectives it pursued changed over time and what these shifts tell us about the nature of film policy and the challenges facing bodies that are charged with enacting it in the twenty-first century.

영화 포스터에서의 캘리그래피 사용에 관한 연구: 영화 스토리의 배경과 장르의 영향에 대해

본 연구는 영화의 흥행에 영향을 미칠 수 있는 영화 포스터 디자인 중 캘리그래피의 사용이 영화의 특성에 따라 어떠한 영향을 받는가에 대해 초점을 맞춘다. 캘리그래피는 영화의 주제와 분위기를 전달할 수 있는 감성적인 의미전달 수단으로 각광받고 있다. 또한, 영화산업은 소비가 일어나기 전에는 그 가치를 알기 힘든 경험재로서의 불확실성이 존재하는 산업으로서 이를 극복하는 다양한 시도가 취해지고 있다. 이에 본 연구에서는 한국영화진흥위원회가 제공하는 2003년-2013년까지의 10년간의 자료를 바탕으로 흥행순위 200위까지의 영화포스터와 각 영화의 특성을 분석하였다. 그 결과 영화의 고전적 느낌을 전달하는 역사배경의 영화 포스터와 부드러운 감성을 전달하는 드라마 장르의 영화의 포스터에서 캘리그래피가 유의적으로 많이 이용되는 것을 발견하였다. 본 연구는 캘리그래피 디자인이 가지고 있는 고유한 기능이 한국 영화포스터에서도 효과적으로 작용하고 있음을 확인하였다. This study focused on the determinants of the use of Caligraphy in the movie posters, which may have impacts on movie promotion. Caligraphy has been of interest as a tool to carry emotional factors of movies to potential movie-goers. Movies have characteristics of experience goods of which consumers may not know the value of the products before they actually experience the products. This study collected data of the top 200 movies during 2003 and 2013 from Korian Film Council database and analyzed the relations between the characteristics of movies and the use of Caligraphy design in the posters. As a result, we found that history-based movies and drama-genre movies have adopted Caligraphy. We confirmed that the Caligraphy design have functioned effectively in Korean movie posters.

The national trust for talent? NESTA and New Labour’s cultural policy

Although the New Labour period witnessed a high degree of institutional formation in the United Kingdom, many of its initiatives, from regional development agencies to the Film Council, have not survived. One exception is the National Endowment for Science, Technology and the Arts (NESTA). Using interviews and unpublished documentation, this article traces the pre-history of NESTA, its origins as an idea in the last years of the Major administration, the policy networks that helped develop it and its realisation under New Labour. The argument is that by examining the trajectory of NESTA, we can see many of the themes of New Labour’s cultural policy, particularly what came to be thought of as its ‘creative economy’ policy, under which an early enthusiasm for supporting small cultural businesses was replaced by the discourse of creativity and innovation, progressively emptying the policy of its concerns with culture in favour of a focus on economic growth.