Distribution - What Is It?

What Is Distribution? 

What part of the supply chain is distribution? 

The third part of the supply chain is the distribution.

What is distribution often referred to as? 

Distribution is often referred to as 'the invisible art'.

What does 'vertical integration' mean when discussing distribution? 

In the practice of Hollywood and other forms of industrial cinema, the phases of production, distribution and exhibition operate most effectively when 'vertically integrated', where the three stages are seen as part of the same larger process, under the control of one company.


Why isn't 'vertical integration' so common in the independent sector? 

Producers tend not to have long-term economic links with distributors, who likewise have no formal connections with exhibitors.


What three stages are involved in the independent sector? 

Licensing, marketing and logistics.


Licencing 

What is licencing? 

Licensing is the process by which a distributor acquires the legal right to exploit a film.

What are the two levels of licencing? 

International distribution (ensures that films find their way to the 90+ market 'territories' around the world) and 'local' distribution (involves the distributor acquiring the licence to release and exploit the film in a particular country).

What is the advantage of being a major US studio? 

The major US studios generally have their own distribution offices in all the major territories.

What three different types of rights can you acquire on a local level? 

Theatrical rights, for showing the film in cinemas; video rights, for video and DVD exploitation; and TV rights, if the distributor is able to sell the film to a broadcaster.


What are royalties? 

In addition to paying a fee to secure the film, the licence will stipulate that the distributor will also pay royalties to the producer, taken from the profits that the film generates. A local distributor will conventionally share profits equally with the producer for the theatrical leg, pay back higher royalties for broadcast rights, and lower for video/DVD.

What is the most effective way to increase interest in a film? 

A theatrical opening is seen as the most effective way to create interest in a new film. The big screen is still the optimum setting for a film for both audiences and the filmmakers.


How long does it take for a film to reach 'free to air' TV? 

Two years after opening in cinemas, on free-to-air television.


Marketing 

What are the two key questions surrounding the marketing of a film? 

'When?' and 'How?'


What day are films typically released on? 

Fridays.


What will a distributor look at before releasing a film on a Friday? 

A distributor will assess this schedule to identify a Friday release date where there are only a few films scheduled for release.


What is a 'light' week in terms of distribution? 

'Light' week will ensure that there will be both screen space and adequate review column inches in the press allocated to any potential release.


What does it mean to 'position' a film distinctively? 

Position the film distinctively and avoid a release date occupied by other films with similar traits (story, subject, country of origin).


Why has this become increasingly difficult in the UK? 

The release schedule has regularly featured over 10 new releases in a week (more films).


What are P&A? How much can P&A cost? 

P&A are the nuts and bolts of marketing and distributing films into cinemas, the tools used by the distributor to create a public for its film. P&A also represent the bulk of the distributor's investment, after paying the initial fee for rights, and can range from less than £1,000 to over £1 million for the release of a film in the UK.


Marketing - Prints And Adverts 

Typically how many prints will a 'specialised' film have? 

Specialised films will often be released with fewer than 10 prints into key independent cinemas, with these prints subsequently 'toured' over a 6-month period to all parts of the UK.


How many will mainstream films have? 

Commercial mainstream films will often open on over 200 prints, simultaneously screening in all major UK towns and cities.


What is a key factor in developing the profile of a film? 

Favourable press response is a key factor in developing the profile and desirability of a film. Distributors consider both the quality and breadth of coverage, and this is often inscribed into the nature and scale of a press campaign.


How else can awareness of a film be raised? 

Advertising in magazines, national and local newspapers works in tandem with press editorial coverage to raise awareness of a release.


Why is distribution in the UK seen as risky? 

The cost of print advertising in the UK is comparatively high, and is seen as making distribution in the UK a riskier business than in most other countries.


Why are companies looking towards viral marketing? 

In order to extend the reach of advertising and develop more effective communication with audiences at low cost, distributors are looking increasingly to 'viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.


What are the benefits of a 'talent visit'? 

The use of talent - usually the director and/or lead actors - wins significant editorial coverage to support a release. The volume of coverage can far outweigh the cost of talent visits.


Logistics 

In the pre digital film age what was a distributor responsible for? 

It is the responsibility of the distributor to arrange the transportation of the film to the cinema, as part of its wider coordination of print use across the UK.


How much does a 35mm print typically cost? 

Each print can cost around £1,000 - or twice that if subtitled - so a degree of care is required of everyone involved in handling the print.


How many reels is a typical feature print? 

5 or 6 reels.


Why do 35mm prints get damaged? 

35mm theatrical prints invariably suffer cumulative damage as they pass through different projectors, and the hands of various projectionists.


Where are prints stored? 

There are also overheads incurred by the distributor for the storage of prints at the UK's central print warehouse in West London.


How long did a theatrical release used to last? 

Distributor will invest in sufficient prints to provide optimum coverage through the first period of theatrical release, usually lasting up to 6 months.


Digital Distribution 

When did digital distribution begin in the UK? 

Towards the end of 2005, the UK distribution and exhibition sectors were starting to move towards digital distribution and exhibition.


Name two advantages of digital distribution 

In distribution terms, the advantages of digital technology are even clearer, though perhaps longer term. Digital technology is seen to offer a more cost effective and logistics-light alternative to the tried and trusted, but unwieldy model of 35mm print distribution described above.


Which countries adopted digital distribution early and why? 

Digital distribution and exhibition on a large scale has started to appear in certain parts of the world, notably China and Brazil, where conventional logistics cannot, for one reason or another, efficiently bring together supply and demand.


How many screens were digital in 2005 and how many are now?

2005 the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll out was completed in 2006. As of 31 March 2015, 38,719 screens (out of a total of 39,789 screens) in the United States have been converted to digital (15,643 of which are 3D capable), 3,007 screens in Canada have been converted (1,382 of which are 3D), and 93,147 screens internationally have been converted (59,350 of which are 3D).


Why has digital distribution radically altered the operating model of distributors? 

There is little doubt that the advent of digital distribution has the potential radically to alter the modus operandi of distributors around the world. The comparatively low cost of film copies and additional logistical effectiveness of digital distribution provide the distributor with greater flexibility. It will be less expensive in the coming years to offer a wide theatrical opening with many copies, and also conversely, to screen a film for just one performance at any cinema.


What has happened to the typical release period for a film? 

All this suggests that in the future, more titles, both mainstream and specialised, will receive wide theatrical openings, and that this broadening of access at the point of release will dramatically reduce the overall theatrical period from 3-6 months to perhaps 1-3 months.


What is a loss leader and why are companies using the Cinema as a potential loss leader?

A loss leader is a product sold at a loss to attract customers. A strategy in which an institution offers a product or service at a price that is not profitable for the sake of offering another product/service at a greater profit or to attract new customers. This is a common practice when a film or institution first enters a market; a loss leader introduces new customers to a service or product in the hope of building a customer base and securing future recurring revenue.

Representation of Class and Status

Definitions:

Class and Status: A status hierarchy in which individuals and groups are classified on the basis of esteem and prestige acquired mainly through economic success and accumulation of wealth. Social class may also refer to any particular level in such a hierarchy.

Upper Class: The social group that has the highest status in society, especially the aristocracy.

Middle Class: The social group between the upper and working classes, including professional and business people and their families.

Working Class: The social group consisting of people who are employed for wages, especially in manual or industrial work. 

Stereotypes of the Class System:

Upper Class:

• Well dressed - Suits, Waist coats. - Appearance.
• Own businesses and live off of the investments. (Family run) - Lifestyle
• Boarding schools and expensive university for their children.- Lifestyle.
• Wealthy. - Possession 
• Own horses and a lot of dogs. - Possession
• Have expensive cars e.g. 4x4's. - Possession
• Well mannered. - Behavior.
• Hunt and shoot. - Lifestyle.
• Mostly go out on vacations. - Lifestyle
• Own Mansions in the countryside. - Living arrangements 
• Have their own clubs. (Closed society) - Lifestyle.
• Have their own flats and houses in the cities or abroad. - Living arrangements.
• Live with parents usually. - Living arrangements
• Snobby. - Attitude
• Quite arrogant. - Attitude.
• Good temperament. - Behavior.
• Well Heeled. - Behavior.

Middle Class:

• Financially stable family. - Lifestyle
• Able to go on vacation once a year. - Lifestyle
• Usually have some extra money on the side. - Lifestyle
• Works white collar jobs e.g. Doctors or Office workers. - Lifestyle
• Nuclear family. - Living arrangements
• Family car. - Possession
• Medium sized homes. - Living arrangements. 
• Church goers. - Lifestyle
• Successful small business e.g. Corner shops. - Lifestyle
• Chooses work that requires a degree. - Lifestyle
• Children may go private schools, more likely to go public schools. -Lifestyle
• Have been taught with one skill or more. - Lifestyle

Working Class:

• Selfish. - Attitude
• Women are physically out of control - fat, loud, overly sexual and dressed in a 'loud' and inappropriate clothing. - Appearance.
• Racist. - Behavior
• Complete physical and unpleasant jobs. - Lifestyle 
• Alcoholics. - Lifestyle
• Extreme fans of football. - Lifestyle
• Violent e.g. Fighting. - Behavior
• Abusive. - Attitude
• Live in high - crime areas. - Living Arrangements 
• Dependent on government's money. - Lifestyle
• School dropouts. - Lifestyle
• Females are usually in out-of-wedlock pregnancy or underage pregnancy - Lifestyle.
• Commit domestic violence - Behavior.
• Violent dogs - Possession

Information taken from:

https://prezi.com/gyiynxd9hmph/class-stereotypes/

Examples from UK and US TV Dramas:

Upper Class:

Mad Men

This programme would be considered upper class because the characters present are very well off in high earning jobs (performing in a successful advertising agencies), and dress to fit the part as well (the men always in suits and the women in elegant dresses).

Downton Abbey

 

This programme would be considered upper class, as the characters within the show are very distant from the working class, showing a large divide between the system, and are very well off within their possessions and lifestyles, for example: they play croquet and ride horses regularly.

Middle Class:

Waterloo Road

This programme would be considered middle class, as the characters (who in this case are teachers) are all shown working hard to earn their money, and have average stereotypical 'normal' TV lives. 

Scott and Bailey

This programme would be considered middle class, as the characters are all shown working hard to earn their money (working as police constables/women detectives), and live what we as an audience would consider the 'norm' of a stereotypical police life. Whilst they dress smartly and sensible for their jobs, they aren't as elegantly dressed as stereotypical upper class constables would be.  

Working Class:

Misfits

This programme would be considered working class, as the characters reflect typical teenage girls and boys who are entering the beginning of adulthood, projecting the common stereotype of teens getting up to no good and ending up in prison. The characters' appearances and actions come across 'common', linking them to the audience

The Mill

This programme would be considered working class, as the characters battle a continuous struggle with themselves and society to try and earn some money in order to survive, relying strongly on their family members. Their outfits are very dull and ragid, almost mimicking/reflecting their lifestyle.

British Film Industry (Part 2)

PART 1 HERE

Mad Max: Fury Road - 

TOTAL SCORE - 11/35 - NOT QUALIFIED AS A BRITISH FILM (British actors/crew, but location was in Namibia).

Star Wars: The Force Awakens - 

TOTAL SCORE - 13/35 - NOT QUALIFIED AS A BRITISH FILM (Actors are mainly American, and location was around Iceland and Abu Dhabi).

Other Ways To Be British

The "old" rules for being British required a film to meet three of the following six criteria:

• A British director
• A British producer
• A predominantly British cast
• A British production company
• A subject matter than informs on the British experience
• British identity defined by the BFI in "Sight and Sound" (www.bfi.org.uk/sightandsound/)

(Co-productions with British input count as British films.)

How do British films attract audiences (consider how these films might attract either a British or a global audience)?

British films could attract larger audiences by appealing to people worldwide who have watched and enjoyed other successful British films. This target audience could be reached on the internet by seeing what people have searched and by looking at their Facebook accounts and other social network sites. Also, they could advertise it on TV channels and websites which are popular with the target audience.

Also, producers of British films should try to use unique technology to try to attract their target audience.

Also, they could create a video game about the film to attract a younger audience. People who buy the PlayStation game of it would be tempted to watch the film as well and buy the DVD or watch it at the cinema.

How are they distinct (different) from Hollywood blockbusters?

The identity of the British industry, and its relationship with Hollywood, has been the subject of debate. The history of film production in Britain has often been affected by attempts to compete with the American industry. The career of the producer Alexander Korda was marked by this objective, the Rank Organisation attempted to do so in the 1940s, and Goldcrest in the 1980s. Numerous British-born directors, including Alfred Hitchcock and Ridley Scott, and performers, such as Charlie Chaplin and Cary Grant, have achieved success primarily through their work in the United States.

In comparison to Hollywood blockbusters, British films usually see:

• Less known actors
• Day to day life
• Gangs/violence
• Drugs/alcohol
• Poverty/financial hardship
• Urban areas of fantastical locations
• Different cultures

Audience Types:

Mainstream: Unlikely ever to view anything other than major "Hollywood" style blockbusters.

Mainstream Plus: Generally mainstream, but apt to see less mainstream films on a few occasions.

Aficionados: Tend to view a mix of films, including major foreign language titles, and can be encouraged to become even more adventurous in their viewing choices.

Film Buffs: Eschew mainstream films in favour of more extreme, esoteric, challenging and difficult subject matter (specialised) films.

What do you feel are the reasons for having a British film industry?

I feel the reasons are to allow the culture of British film to grow through the public eye, and to provide a new popularity and business aspect within the region, so that as much money can be made as possible, and to also boost the economy of Britain as a whole.

Representation of Ethnicity - Exam Question

Discuss the ways in which the extract constructs the representation of ethnicity using the following:

• Editing

http://www.bbc.co.uk/programmes/p00vd137 (Extract)

Editing is shown widely across the extract. The first example of editing in the interior office scene is the reaction shot, used when the protagonist discovers his mistress has committed a crime. This countertype challenges the stereotype of black people being 'cold hearted' within tv drama, and shows his emotional side towards the situation. This makes the audience feel pity for the protagonist due to his unsettling situation, and supports the overall stereotype of ethnicity being pitiable.

An extended cut is also used in this section of the clip as the camera pauses on DCI gates’ face; this is used to further highlight his emotion towards the situation for his realization. The slowing in pace emphasizes the aggression he feels and allows the audiences to predicate that he will later release his aggression on the woman. This foreshadowing is commonly used in TV Drama and also supports the stereotype of black people being dangerous. This danger is supported later on in another interior scene where the protagonist confronts the mistress and arrests her. Fast pace editing is used in this scene to intensify the action and further support the stereotype of danger. A series of shot reverse shots are also used in this discussion to keep the up the pace and show both of the characters emotions. The female is shown to challenge the stereotype of white females being sweet and kind as she is represented as the antagonist who is committing the crime, highlighting a danger within her. 

The final scene is the interior shot of the car in which the protagonist and his mistress engage in conversation after he has arrested her. The audience see a reaction shot which is used a couple of times during this extract. The reaction shot is used to show his emotion to what she has said about his wife and children finding out about their relationship. It shows him as sad about this revelation that she will tell his wife, this is a countertype that black people aren't usually shown as having emotions and being emotionally strong so this goes against it as it shows the protagonist as being emotional at this. This also follows the stereotype that they are pitied because the audience feel for him for the fact that his mistress is going to ruin his marriage.