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The UK Film Council: A Case Study of Film Policy in Transition

英国电影理事会：转型中的电影政策案例研究

基本信息

批准号：
AH/J00457X/1
负责人：
Gillian Doyle
金额：
$ 32.45万
依托单位：
University of Glasgow
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2012
资助国家：
英国
起止时间：
2012 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FJ00457X%2F1
关键词：
UK Film Council Case Study

项目摘要

'Film matters. It matters because it is both a powerful engine of the creative economy, and a form of cultural expression which reaches huge audiences and influences lives. Yet without a well-structured set of interventions by Government, the UK film sector cannot begin to realise its potential. The UK Film Council was set up to provide a framework [for such] intervention[s]' John Woodward, CEO of UKFC (UKFC, 2004:4).Established in April 2000 but wound up at the end of March 2011, the UKFC was the key strategic body responsible for supporting the film industry and film culture in Britain for over a decade. Set up by the Labour Government (1997-2010) with a remit to build a 'sustainable' film industry, the Council's agenda shifted and broadened over its lifetime reflecting differing expectations in relation to the underlying purposes of public support for film. While the model of support it offered ensured the funding of a wide range of films and was viewed by some as effective, the more ambitious aims with which the UKFC was originally charged - of making the UK film production sector sustainable and of securing a global position in distribution - were not achieved. After only a few months of coming to power in May 2010, the new coalition Government announced a general cost-cutting strategy, part of which was the abolition of the UKFC and a reassignment of its responsibilities, mainly to the BFI. The UKFC's short-lived experience as lead support body for film raises fundamental questions about how strategic interventions for film in the 21st century may be framed and put into operation. While earlier research has addressed the history of film and film policy in the UK (Dickinson & Street 1985; Hill 2004; Murphy 2009; Richards 2009: Sargeant 2005; Street 2009), none has developed specific case studies that scrutinise how policy is understood and implemented institutionally and organisationally by public support bodies for film. The proposed research, focusing on the history of the UKFC from inception to demise, provides an exceptional and timely opportunity for such a case study and for in-depth investigation of the changing pressures on models of public support for film in the 21st century. The project sets out to investigate the history of the UKFC, to examine its effectiveness as a model of public support for film and also to analyse the policy implications of its closure for film in the digital era. The research will examine how and why the objectives pursued by the UKFC changed over time; how competing economic and cultural objectives were negotiated; the performance of the UKFC in fulfilling its objectives; the role of the Council in helping the UK film industry adjust to a digital environment; and ask what strategic lessons may be drawn from its overall experience. The principal data-gathering techniques include the assessment of documents and texts, analyses of secondary statistical data, archival research, and interviews with key actors to whom the project team are confident of achieving excellent access. The PI (Doyle), Co-Is (Schlesinger and Boyle) and PDRA (Kelly) collectively bring multi-disciplinary expertise in media, creative and cultural industries and policy analysis. Whereas the Co-Is' input will be focused mainly on interviews, analysis of findings and dissemination, the PI and PDRA will work on all phases of the research programme. Refs:Dickinson & Street (1985) Cinema and State: The Film Industry and the Government, 1927-1984, BFI.Hill (2004) 'UK Film Policy, Cultural Capital and Social Exclusion', Cultural Trends, 13(2). Murphy (2009), The British Cinema Book, BFI.Richards (2009), Best of British: Cinema and Society from 1930 to the Present, I.B. Tauris.Sargeant (2005), British Cinema: A Critical and Interpretive History, BFI.Street (2009), British National Cinema 2, Routledge.UKFC (2004), Our Second Three Year Plan: Funding and Policy Priorities 2004-2007.

“电影很重要。这很重要，因为它既是创意经济的强大引擎，也是一种文化表达形式，可以吸引大量受众并影响人们的生活。然而，如果政府没有一套结构良好的干预措施，英国电影行业就无法开始发挥其潜力。英国电影协会成立的目的就是为这种干预提供一个框架。”英国电影协会首席执行官约翰·伍德沃德（John Woodward， UKFC, 2004:4）。英国电影协会成立于2000年4月，于2011年3月底结束，十多年来一直是支持英国电影产业和电影文化的关键战略机构。电影委员会由工党政府（1997-2010）成立，其职责是建立一个“可持续”的电影产业，其议程在其一生中不断变化和扩大，反映了与公众支持电影的基本目的有关的不同期望。虽然它提供的支持模式确保了对各种电影的资助，并且被一些人认为是有效的，但UKFC最初承担的更雄心勃勃的目标——使英国电影制作部门可持续发展，并确保在发行方面的全球地位——并没有实现。2010年5月，新联合政府上台仅仅几个月后，就宣布了一项削减总体成本的战略，其中一部分是取消UKFC，并将其职责重新分配给BFI。UKFC作为电影主要支持机构的短暂经历提出了一个根本性的问题，即21世纪的电影战略干预措施如何制定和实施。虽然早期的研究已经解决了英国的电影和电影政策的历史（Dickinson & Street 1985; Hill 2004; Murphy 2009; Richards 2009; Sargeant 2005; Street 2009），但没有人开发出具体的案例研究来仔细研究电影公共支持机构如何从制度上和组织上理解和实施政策。这项研究的重点是UKFC从成立到消亡的历史，为这样一个案例研究和深入调查21世纪公众支持电影模式的变化压力提供了一个特殊而及时的机会。该项目旨在调查UKFC的历史，检验其作为公众支持电影的典范的有效性，并分析其关闭对数字时代电影的政策影响。该研究将研究UKFC所追求的目标如何以及为什么随着时间的推移而变化；如何谈判相互竞争的经济和文化目标；UKFC在实现其目标方面的表现；委员会在帮助英国电影业适应数字环境方面的作用；并询问从其总体经验中可以吸取哪些战略教训。主要的数据收集技术包括对文件和文本的评估、对二手统计数据的分析、档案研究以及与项目团队有信心获得良好访问的关键参与者的访谈。PI（多伊尔）、联合i（施莱辛格和博伊尔）和PDRA（凯利）共同带来了媒体、创意和文化产业以及政策分析方面的多学科专业知识。共同机构的投入将主要集中于访谈、分析调查结果和传播，而项目负责人和方案研发机构将在研究方案的所有阶段开展工作。参考文献：Dickinson & Street（1985）《电影与国家：电影工业与政府，1927-1984》，英国电影学院。Hill（2004）“英国电影政策，文化资本和社会排斥”，《文化趋势》，13(2)。墨菲（2009），《英国电影书》，英国电影协会。理查兹（2009），《英国最佳电影：1930年至今的电影与社会》，金牛座出版社。萨金特（2005），《英国电影：批判与诠释的历史》，英国电影学院。街（2009），英国国家电影院2，劳特利奇。UKFC(2004)，我们的第二个三年计划：资金和政策重点2004-2007。