Section B Past Questions

On this post you will find OCR's statement regarding what candidates need to have knowledge of relating to their chosen case study material.

Remember that we have looked at the film industry with 'Skyfall' and 'The Woman In Black' as our case study films BUT other candidates may have looked at music, television, gaming, radio, newspapers or magazines.

This means that the question that you are given will be quite general as it has to be able to be answered by all candidates.

As a starting point:

1. Read through each of the past questions below and try to identify which of the bullet points below it relates to.
2. For each question, establish whether the question is asking specifically about production / distribution / marketing / exhibition / consumption / exchange OR all of these.

'Skyfall' and 'The Woman in Black" Exhibition, Consumption and Exchange

Use the following to develop your awareness and knowledge of the UK film industry in 2012 - the year both 'Skyfall' and 'The Woman in Black' were released.

BFI Statistical Yearbook 2013 (covers 2012 figures for distribution and exhibition) 

CLICK HERE

BFI Statistical Yearbook 2014 (covers 2012 figures for exchange) 

CLICK HERE 

Exhibition = films being exhibited or 'shown'.

The number of screens in the UK continues to rise, although the number of screens per person and admissions per person vary considerably across the country. Complementing commercial cinema is a thriving voluntary sector in film exhibition, and film society admissions are highest in areas less well served by commercial cinemas.

EXHIBITION FACTS IN FOCUS:

• At the end of 2012, the UK had 3,817 screens, 50 more than 2011, in 769 cinemas.
• For the first time since 1984 the net increase in screens in traditional cinemas was greater than the net increase in multiplex screens.
• There were six screens for every 100,000 people, the same as in 2011, but lower than countries such as the USA (12.6), France (9.0), Australia (8.7), Spain (8.3) and Italy (6.4).
• Only 7% of screens were dedicated to specialised programming, with 0.2% dedicated mainly to South Asian films.
• More than 90% of all screens in the UK were equipped for digital projection.
• Membership of community cinemas
• and film societies continued to grow;
• the British Federation of Film Societies estimated a total membership of around 55,000 across all film societies, compared with 54,000 in the previous year.
• There were 584,000 admissions at more than 50 film festivals in the UK in 2012.
• The average ticket price at commercial cinemas was £6.37

Cinema screens by exhibitors with 20+ screens, 2012

  

Exhibitor                                                      Sites                Screens       % of total screens

Odeon	114	868	22.7
Cineworld	80	799	20.9
Vue	79	746	19.5
National Amusements	20	264	6.9
Empire Cinemas	16	150	3.9
Anderson	11	88	2.3
Reel Cinemas	16	63	1.7
Cineworld/City Screen	22	60	1.6
Movie House Cinemas	5	39	1.0
Merlin Cinemas	11	32	0.8
Others (21 major exhibitors and 329 independent single venue exhibitors)	395	708	18.5
Total	769	3,817	100.0

Technological change is transforming the shape of the creative industries at an extremely rapid pace. This presents both huge opportunities and challenges for the film sector. As John Adams, Professor of Film & Screen Media Practice at the University of Bristol, points out, “digital technologies create the possibility of a paradigm shift in the creative and commercial potential of film”. 

Films are already available on multiple platforms at users’ convenience. They carry an increasingly rich stream of metadata. Feature-length productions may still be the norm in cinemas but they are increasingly complemented by a wide array of other forms of moving images available via streaming sites. Transmedia storytelling, in which a narrative unfolds across different platforms, is becoming increasingly common. 

There is a strong public appetite to engage with film, not just as consumers, but as producers, curators and critics. The development of social media has been a powerful tool in this. Technological advances will allow faster access to audiences and more direct relationships between filmmakers and audiences; and analysts now believe that new devices that make it easier to watch internet video on television will accelerate the shift to on-demand movies. 

However, film needs to be able to compete with other content in the digital environment. According to the British Video Association, “the single biggest problem currently facing the film industry is falling revenues”. The challenge for the industry is to replace lost revenues from the collapsing DVD-based ownership model in a marketplace that is shifting away from physical media. Counterbalancing this is the huge opportunity presented by the digital revolution. The film industry is seeking revenue models to capitalise on what audiences are willing to pay for films (and related games, apps and other media).

Consumption = films being consumed ('watched') by an audience  

Exchange = how the audience then responds to these.

Understanding the audience is key to a vibrant film economy and culture. Surveys of the UK cinema audience provide us with an insight into one element of the film offer, but more research is needed on audience engagement with the full range of online experiences.

AUDIENCE FACTS IN FOCUS:

• In 2012, the proportion of over-45s in the UK cinema audience increased to 36% compared to 28% in 2011, while the 15-24 audience decreased from 31% to 25%.

Film on 'Physical' Video

Despite falling revenues, particularly in the rental market, physical video remains a crucial element of the film value chain. 

In 2013, feature film video sales and rentals in the UK generated just over £1.1 billion.

PHYSICAL VIDEO FACTS IN FOCUS:

• The combined sales and rental market for all categories of video on physical media in 2013 was more than £1.6 billion (over £1.4 billion in sales and £197 million from rentals); feature film on video accounted for just over £1.1 billion.
• There were 119 million sales of feature film on physical video
• (127 million in 2012) and 53 million rentals of film on video (78 million in 2012).
• Film accounted for 73% of the volume of the video sales market and 65% of the value. UK films accounted for around 24% of all films sold on video.
• The most popular purchase on both DVD and Blu-ray disc in 2013 was Skyfall.

Hardware

• According to the BVA, in 2013 some 3.3 million DVD players were sold in the UK. 
• Sales of DVD players have been decreasing each year since 2008 but over 60 million units have been sold in the UK in the last 10 years and, according to the BVA, over 90% of the population has access to a device that can play DVDs within the household. 
• Also, 1.2 million Blu-ray players were sold in 2013, one third of which were 3D players.
• Sales of Blu-ray players in 2013 were slightly lower than in 2012 (1.3 million units in 2012) but more than 5.5 million Blu-ray players have now been sold in the UK, and 21.2% of households own at least one player (compared with 17.6% in 2012).

Video on Demand 

Video on Demand (VoD) enables audiences to access films through a range of devices, anytime, anywhere. 

Revenues for online services were higher than television-based earnings for the second consecutive year in 2013, but our overall understanding of this market is hampered by a lack of robust data.

FACTS IN FOCUS:

• The total VoD film market was estimated to be worth £323 million in 2013, up 37% on 2012, and up over 400% since 2002
• Apple was the highest earning VoD provider in the UK, but YouTube is the most used provider to access feature film on VoD, with over 39% of online film viewers, followed by LOVEFiLM, with 25% of viewers and Netflix with 24%.
• 16% of online viewers access films on demand
• People can now watch film on demand wherever they are, as long as there is a 3G/4G hotspot or wireless router to connect their (mobile) devices to the web. 
• By the beginning of 2014, 84% of adults in the UK had access to the internet at home, and 53% of adults used a mobile phone to connect to the web. 
• In addition, 35% of households had a tablet or similar device, of which around half were 3G/4G enabled for mobile internet access.
• It is possible to gauge the potential audience for film on VoD content. In terms of television-based VoD providers, by the end of March 2014 approximately, 10.5 million Sky satellite subscribers, 3.8 million Virgin Media TV subscribers, 917,000 TalkTalk TV subscribers and 900,000 BT TV subscribers were able to access a range of on-demand services, including pay-per-view and catch up services. The potential audience for television-based VoD in the UK was estimated to be over 16 million.

Film on UK Television

In terms of viewer numbers, the single most important platform for film consumption is television. Viewers had a choice of almost 7,000 unique film titles across
all channels in 2013, and the cumulative film audience was just under 3.4 billion.

FACTS IN FOCUS:

• There were 6,941 unique film titles on television in 2013, including 1,800 on terrestrial channels, 1,324 on pay TV film channels and 3,817 on other digital channels.
• There were 1,990 film transmissions on terrestrial channels, down from 2,141 in 2012. Of these, 514 (26%) were UK films (up from 443 in 2012), 269 films (13%) were channel premieres and 47 (2%) were foreign language films (down from 71
• in 2012).
• There were over 57,000 film transmissions on multi-channel television, of which over 41,000 were on pay TV film channels.
• The top film at the UK box office in 2012, Skyfall, was the most popular film shown on pay TV channels in 2013, with a total audience of 4.9 million from 93 transmissions across the Sky Movies channels.

Lesson Slides

Here are 3 lesson slides we used on Thursday 23rd April.

You were asked to make your own notes from these so that you did not have to rely solely on my appalling handwriting.

Film Piracy in the UK

Film piracy is an issue that affects the film industry at the stages of exhibition and consumption.

There is a lot of information on the web for you to research yourself.

Here are a few things to get you started.

You can find information from The Guardian relating to film piracy by clicking here 

An interesting approach to trying to tackle film piracy related directly to 'Skyfall' can also be found by clicking here.

Film producer Stephen Follows give shis own opinions about whether or not piracy has harmed the UK film industry on his blog. The relevant post can be accessed by clicking here.

Marketing ' The Women In Black'

Marketing 'Skyfall'

Coming Down the Mountain: Representation of Physical Ability and Disability

In the 'Coming Down the Mountain' extract, there are stereotypical representations of the able - David - and disabled - Ben. Disability is shown to be an issue and a burden on the able characters, which is a conventional representation in media. However, the usual representations of ability are challenged, as the able character, David, can be seen having some negative characteristics as well.

The extract begins with a bird's-eye view shot of the brothers' bedroom. There are clear differences between David and Ben's side of the room. The dark colours of David's side contrast the bright colours on Ben's side of the room - this suggests that they do not live the same lifestyles as one another and that there is a clear division between them. Ben's side is cluttered with colourful childlike toy props, which presents him as vulnerable, innocent and not like other teenagers. On the other side, David, the able character, seems to have conventional teenager elements to his side with a music player and various posters - creating a sense of teen 'angst'. The camera pans slowly around David in mid shot, showing that the voice over is coming from him. David narrates his experience with having a disabled brother through a voice over, saying that he 'tried to kill him' - this implies that he wants to keep his extreme anger towards his brother a secret. When he expresses these feelings, sharp electric guitar sounds are added to the non-diegetic sound, enhancing his anger towards his brother.

The scene dissolves into a short montage of the process of evolution. The black & white and grainy effects and the different timing of the sounds of explosions and animal movement, shows that this section is not occurring in the scene, but is merely a vision of David's thoughts. This montage has been used to demonstrate the biological process of humans, suggesting that there has been a 'mix up of chemicals' in Ben's biology that has made him have a disability. The cut to a close-up of Ben's face, in the kitchen, creates a direct link to him and the montage. The shot of a disgusted look of David's face and the voice over of David describing him as a 'big potato with eye tentacles' shows that he is not happy about having a disabled brother - this immediately hints to the audience that disability is a burden. David's annoyed behaviours, throughout the kitchen scene, towards Ben furthers the idea that disabled people are a hassle on the abled. The parents seem to favourite and care for Ben more due to his disability - as the mother kisses Ben's head but not David's and David has to 'keep an eye' on Ben when he goes to the toilet. This adheres to the stereotype that the disabled are weak and always need to be looked after. Furthermore, this may position the audience to empathise with David due to him having to be a carer whilst being a teenager. However, there is a sense of maturity coming from Ben which contrasts David's almost childish behaviour - even the mother says to David 'grow up' and stop being 'selfish'. This differs from the initial of Ben being represented as childish and David being represented as a normal teenager.

The camera then tracks David and Ben walking to the bus stop - David is walking in front of Ben, which shows that he has more superiority and power over Ben. There's continuous cuts to various shots of the brothers waiting at the bus stop across a number of days, which emphasises the burden David had to keep carrying. In all the shots, Ben is playing with child toys which emphasises the vulnerability of his character. Afterwards, there are various shots of David having to support and care for Ben, and the voice over continues to explain that disabled people 'always need someone with them.

There is a cut to the scene at school, where the students are shown to have rowdy behaviour. The actions of these able students contrast the quietness and normality of Ben's actions, challenging the stereotype that the abled are perfect compared to the disabled. It then tracks to a tracking shot of David talking to his friend about a party where drugs are involved. Ben is seen standing in the background, which again furthers the idea that the abled are more superior than the disabled. There is a cut from David and his friend to Ben and a few younger children. This increases the division between Ben and David as it shows that David leads a normal teen lifestyle, whereas Ben is stuck in a child lifestyle. This positions the audience to feel sympathetic towards Ben, as he cannot be normal like other teenagers. When David gives money for Ben to get home, David is seen through a low angle and Ben is seen through a high angle, which emphasises the idea that abled have a higher lifestyle and power over the disabled. In the reflection of a classroom window, a small science explosion is seen going off - this connotes that danger might occur when Ben is left alone.

The final scene shows Ben by himself on a bus with a few troublesome children in the background. The shaky camera movement suggests that trouble or danger may incur. The close-up shots of Ben's cautious expressions and David's narration explaining that they have 'never been more than half a mile apart' show the unsafe situation Ben is in. Furthermore, Ben is seen on an eye-level which allows the audience to feel even more sympathetic towards him. The extract ends with a slow motion close-up shot of Ben's eyes with different timing of sounds such as childlike laughter, emphasising the vulnerability of Ben's character.

Overall, although the extract shows some challenges towards stereotypical representations of ability and disability - by switching the contrasts between them, the majority of the extract adheres to the idea of the disabled being weak and unable to participate in a normal lifestyle in comparison to the abled characters.

Monarch of the Glen - Representation of Age

In this clip there are 3 different age groups represented - teenagers, adults, and elders. These groups are all represented differently and certain stereotypes are fulfilled. However some characters from certain age groups often oppose each other, such as the two teenagers and the two elderly characters.

The main teenager, a 16 year old girl, fits many stereotypical attributes. Vulnerable, desperate, dishonest. Although, the other teenager shown, a slightly older boy, doesn't often fit any of these stereotypes. He does not cause any problems and is obedient to Paul, an adult. This contradicts with stereotypical views of teenagers when compared to the girl. It is worth noting the use of tracking the girl as she walks out from the house. This relates to the view that teenagers believe they are the centre of attention.

The clothes that the characters wear are significant. The clothes that Amy wear are not suitable for this type of manual labour, as she is wearing very light clothing and also, a necklace. This fits the stereotypical image of a teenage girl, caring more about her appearance than anything else. Amy's headmaster, however, is wearing formal clothing, including a tweed jacket. This fits the stereotypical image of a boring old person.

The harsh, diegetic sounds of tools clattering show that this is a rough work environment which suggests that this is no place for a 16 year old girl. The sounds reinforce the idea of manual labour, as well as Amy's uncertainty when it comes to driving the car. The sound soon after, that of the car crashing, brings an abrupt stop to the others' actions. This again reinforces the idea that teenagers are the centre of attention. The crash is symbolic of how Amy has been brought back to reality, as from this point onwards her life picks up pace, and she comes under scrutiny from Paul. As Paul and Ewan arrive, she walks behind them, looking almost like she is hiding behind them. This fits the stereotypical view that teenagers cannot fend for themselves and require protection.

After this car crash scene, the shift from high-key to low-key lighting (from outside to inside the house) indicates that Amy's life has taken a turn for the worst, although this also suggests the view that teenagers take things too seriously. After this one misfortune has befallen Amy, she is in turmoil. Yet again this is stereotypical of the tantrum-throwing teenager.

After the headmaster has revealed that Amy has not completed any of her exams, there is an ellipsis to Paul opening the door, which helps continue the narrative. This shows the idea of the strict guardian, as he is very immediate and also dedicated to his work as he has no time to waste. The low-angle shot of Paul puts him in a position of power, reinforcing the idea that guardians are unfairly harsh when it comes to handling a teenager. The use of a cutaway shows that Paul has no time for Amy's antics, also suggesting a hint of cruelty. This reminds us of teenager’s views that parents are too strict and cruel. Although, the use of an eye line match as Amy runs away after an outburst suggest that the adults do care for her, reminding us of the stereotypical view that teenagers think the world is out to get them, and they don't know any better.

The use of upbeat, cheerful music in the next scene stood out to me. After this outburst from Amy, the scene immediately shifts, and includes diegetic sounds of manual labour, and non-diegetic music which is lively and uplifting. The scene is also shifted from low-key to high-key lighting. This strongly suggests that Adults do not feel any strong sympathy for teenagers, even when they are this upset. This may be because they believe that it is only a phase and the child will come around, the child is irresponsible and naïve, or because they simply have more important things on their mind. This reinforces the thought of cruel parents and guardians. In this scene, there are no teenagers carrying out the physical work. This shows the belief of adults that teenagers aren't cut out for manual labour. It also may suggest that Adults are in more control of their emotions and are able to keep working after an argument such as this. This also represents teenagers as emotionally weak, meeting stereotypes.

As Amy prepares to run away, we see girly magazines on her bed, and the writing on her notes is frilly and pink. This is appealing to the stereotypical view of teenagers as unprofessional and irresponsible. The writing, along with the teddy bear, makes her seem very childish. The use of tracking once again reinforces this idea that she believes she is the centre of attention, and also suggesting that the whole act of running away is a cry for attention. As she leaves, we are left with a view of a family photo, not including her. This suggests that she feels isolated because of her age, and not being a part of the family. This suggests the stereotypical view of teenagers as isolated, depressed, and dramatic, and is an attempt to evoke sympathy for Amy, as she may feel isolated. This reinforces the theory that this act of running away is a cry for attention. As we see Amy's reflection in the mirror, we see quite clearly that she could pass for someone slightly older than 16, which is exactly what she did to the others. This shows the stereotypical view that teenagers are lying, deceiving, and not to be trusted.

Immediately after Amy has left, an older woman comes in to check on her. This is contradicting of the stereotypical view of the elderly as slow and un-reacting, as she checks for her immediately after her departure, showing her quick wit. Although it does fit the stereotypical view that the elderly are caring and protective of the younger population. The use of a camera tilts upward to see the old woman entering the room symbolise her dawning realization that Amy has deserted the house. As the camera comes to a halt, she runs out of the room. This shows that once she has realised Amy has ran away, she instantly takes action and tries to get help. This reinforces the thought of the old being caring, but also breaks stereotypes in the fact that she hurries to take action. Although it is also significant that she goes to Paul for help, as this suggests that she cannot do anything by herself. This suggests the idea of the elderly being dependent and weak compared to young adults.

  After the older woman leaves, the scene changes to an older man behaving belligerently towards Paul. The younger teenage boy is working away without any trouble and without drawing any attention to himself, which heavily contrasts with Amy's character and behaviour. This suggests that not all teenagers fit the stereotypes they are given. The diegetic sound of a sheep "baa-ing" almost sounds like a cry, which can be linked to Amy's cry for attention. This also symbolises that while Paul continues with his work and puts on a smile, she is still in his thoughts. This represents him as caring, breaking the stereotypes of adults' attitudes towards teenagers. The grumpy old man's aggressiveness fits the stereotype of old people often being grumpy and unfriendly towards the young. Although Paul's attitude towards him is also less than nice, as he behaves with disrespect. This reinforces the stereotype that the young often disrespect their elders and take them for granted.

  As the elderly woman reaches Paul and tells him of the news, there is a medium close up to show his change of facial expression, from cheerful to slightly worried. This reinforces the idea that he is caring and also suggests that he is protective of Amy. This represents his age group as responsible.

  To conclude, many stereotypes are purposefully met in this clip, from things as obvious as the frilly pink writing from Amy, to subtle things such as the sheep's cries. Teenagers are personified in Amy and are generally represented as attention-seeking and weak; however the character of Ewan suggests that not all teenagers fit these stereotypes. Parents and Guardians are personified in Paul, as he is strict with Amy but also cares for her. The elderly are also shown in this clip as caring, but can also be represented as grumpy and unfriendly.