Thursday, 7 April 2016

CIE EVALUATION Q2b DISTRIBUTION

you can find more on the Evaluation overall in this hub post
OCR Q3 DISTRIBUTION: What kind of media institution might distribute your media product and why?

- CIE Q2b 'how would it be distributed as a real media text'


**I've just added a lengthy post specifically using the horror distribution example...**


UK-EQUIVALENT STUDENT EXAMPLES
Tilly: blog post that needs more illustration but is fairly detailed.

Molly: blog post; good, detailed response.

Poppy: a Prezi that lacks detail, and doesn't use the tools available within Prezi (embedding, autoplaying etc) as well as she might, but gives a clear, succinct response:
http://harrisprouds.blogspot.lu/2015/01/q3-distributor.html

Here's an example of a creative approach from the 2016-17 AS:



Use exam notes and blog posts linked to exam work, but also BritCinema blog

- from March 2016 alone here are SOME of the distribution linked posts:


There is an especially useful links list just below the tag cloud:

You can quickly browse using http://mediabritishcinema.blogspot.lu/search/label/distribution

There are multiple other tags too: VoD, self-distribution, Tyrannosaur (individual film case studies are very useful), '71, release window, UKFC/Film Council [now BFI] US distribution, StudioCanal;


SUGGESTED APPROACH
I'm giving you 2 versions of this - a simplified and a longer version. You'll find more tips and hyperlinks in the longer version which will help you make better use of the short one!

1: Define/explain distribution. Discuss age ratings (BBFC, MPAA and Lux/other EU if you wish).
2: Detail what companies dominate this part of the industry (big 6...)
3: Give specific examples from your genre; look for both high and low budget; US and UK (or other) productions. Use hyperlinks, give budgets and box office (UK, US, world)
4: Discuss the impact of digitisation (wider opportunities for distribution BUT big 6 STILL dominate; self-distribution is a real option: eg Le Donk.... Netflix/Amazon pay for lots of low budget features; Amazon/Google/Apple/YouTube are also platforms for digital movie sales. DVD editionalising. Reduced impact of age ratings). Digitisation also makes micro-budget production possible - see my links list [screenshot above]!!! Coz Greenop is a great case study of using social media to create distribution opportunities...
5: Conclusion: probably sensible to argue you'd most likely NOT get a theatrical distributor, BUT you still name to name an actual distribution company, justifying your choice with clear examples of movies they have distributed. HINT: Look for a recurring company name with Warp's UK distribution. You could name different distributors for different territories.
  1. WHAT IS DISTRIBUTION? HOW DOES IT FIT WITHIN THE FILM CYCLE (+ PRODUCTION +EXHIBITION)?
  2. WHAT MODES/TYPES OF DISTRIBUTION ARE AVAILABLE? (straight-to-DVD/TV, DVD/Blu-Ray and editionalising (vanilla DVD, SE, Collector's Edition, Unrated Cut, Director's Edition, Ultimate Edition, Boxsets...), VoD + streaming/rental [Amazon Prime, Netflix...], Prima, YouTube [ad-funded or with fee], theatrical: limited v wide release and arthouse v multiplex ... and Curzon as eg of member special events: Harry MacQueen Q+A (Four Lions...). 
  3. IS THERE A LEVEL PLAYING FIELD FOR INDIES + STUDIOS/THEIR SUBSIDIARIES? IS INTERNATIONAL DISTRIBUTION ANY EASIER/MORE LEVEL? (here's where you bring in the big 6; tentpole movies; very specific examples of budgets, number of countries for theatrical, box office - flops + hits [useful to focus on exam egs]; Tyrannosaur a great Indie eg : look at the specific US Indie distributor it got - '71 too; franchising an issue you could leave to point 7)
  4. HAS DIGITISATION CHANGED DISTRIBUTION? IS DISTRIBUTION VIA PIRACY SIGNIFICANT? (VoD + self-distribution, reduced costs ... but marketing still key? What is disruption? BitTorrent and many other online filesharing or illegal streaming outlets; industry claims of lost revenue - falling DVD revenue? You can reflect on YOUR experience/habits)
  5. DOES THE RELEASE WINDOW STILL MATTER?
  6. ARE AGE RATINGS FAIR + EQUAL ON INDIES/STUDIOS? [you've likely covered this in Q1b/2a but worth repeating to be clear]
  7. WHAT INGREDIENTS DO YOU NEED FOR GOOD NATIONAL, AND/OR INTERNATIONAL, DISTRIBUTION PROSPECTS? [precisely the sort of question you might face in the exam, and should have blogged on: production practices]
  8. COULD YOUR FILM QUALIFY FOR ANY GOVERNMENT AGENCY FUNDING? (eg UKFC/Film Council [now BFI], Screen Yorkshire; see this post!)
  9. WHAT MODES OF DISTRIBUTION MIGHT YOUR PRODUCTION COMPANY MANAGE TO NEGOTIATE WITH DISTRIBUTORS? WHICH DISTRIBUTORS? JUSTIFY YOUR CLAIMS. ARE YOU LIKELY TO HAVE PRODUCED A HIT? ESTIMATE A BUDGET - DOES YOUR FILM NEED TO BE A BOX OFFICE SMASH (OR EVEN GET INTO CINEMA) TO BE PROFITABLE?
  10. NAME AND JUSTIFY AN ACTUAL COMPANY - you could also name distributors for different territories...

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