BBFC: Film Regulation

Factsheet #132: British Film

Use our brilliant Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) to find Media Factsheet #132 on British Film. You can find it online here - you'll need to log in using your Greenford Google login. Read the whole of Factsheet and answer the following questions:

1) Write a one-sentence definition of what makes a film British.

the people making the film are British or that it is funded by the British. Also the film’s subject is about Britain or British culture.



2) What is the difference between a Hollywood production context and the production context of a British film?

Hollywood studios have tall budgets, an overwhelming dependence on celebrities both within the cast and team and display-driven stories. Whereas what might be considered to be repeating characteristics of the British film generation setting are that movies made inside the British generation setting will in a few ways reflect British culture, movies such as The King's Discourse (Energy Pictures, 2010) and Child of Rambow (Optimum Releasing, 2007) have shifting degrees of inclusion from Hollywood or other exterior organizations be that as it may they are both inherently British in their subject matter.

3) When did the James Bond franchise start?

The 1960s is when the James Bond franchise started.



4) In terms of film censorship and graphic content, what began to change in British film in the 1970s and 1980s?

5) What groups are often represented in British film? Give examples of films these groups feature in.

The 1970s saw an ascent in English Movies of sexual substance, both the demonstration of endlessly sex connected to brutality. The 1980s saw the ascent of recordings and the 'video awful's alarm where filmmaking was turning out to be more open and more outrageous substance was being made and tracking down its direction to England. Thus a consistent development of film restriction and order in this nation has occurred since the 1980s that sees all movies delivered in the UK to have one of 7 (conceivably 8 albeit the R18 declaration is seldom utilised) groupings granted to it. The BBFC over the most recent couple of many years has attempted to connect more with English crowds, making its rules available to all as well as drawing in with the public while checking on these rules.



6) What does the Factsheet suggest might be the audience appeal of British film?

This is the first step towards targeting and appealing to a British audience as with any film made by a country for its own populace. The main characteristics that can be identified as appealing to a native British audience would include; the actors, British actors tend to be clearly identifiable as British and will often be associated with a particular genre of British film, for example, Hugh Grant has an association with British romantic comedies.

Factsheet #100: British film industry




To complete our introduction to the British film industry, we need a little more background to the industry's context.




Find Media Factsheet #100 on the British film industry. You can find it on the same link as above. Read the whole of the Factsheet and answer the following questions:




1) What is the 'cultural test' to see if a film counts as British?




2) Complete the task on the Factsheet - choose three of the films listed and research them to work out what they score on the cultural test: The Sweeney (2012), Attack The Block, The King's Speech, We Need To Talk About Kevin and Skyfall.

We need to talk about Kevin - 10
The kings speech - 27
Attack the block - 27



3) What is the main problem for the British film industry?

Historically, the British film industry has been production-led rather than distribution-led. This means that many UK films are made but, to get the film exhibited, the filmmakers have to sacrifice the distribution rights by selling the film to a distribution company.



4) What are three of the strengths of the British film industry?

outstanding creative skills of practitioners
and outstanding facilities
several important film studios are British, such as Ealing Studios and Pinewood Studios.



5) What are the two options for the future of the British film industry?

British filmmakers could choose to rely upon co-productions with American studios to keep the industry afloat.
The UK film industry’s second option is to attempt to make low-budget films targeted at a niche,



6) In your opinion, which of these two options would best safeguard the future of the British film industry?

In my opinion, depending upon co-productions with American studios is the more secure choice because it ensures financing and conveyance, in any case, a massive downside to doing this typically that most of what makes a film 'British' can be misplaced as the American company included wouldn't favour of the choices and would take off the film feeling more like an American film than a British one. Making moo budget movies for a niche audience is the way better alternative in case they need to hold the feel of a British film as in spite of the fact that it is risky it decreases the impact from other nations.