The Hidden Screen Industries

这是一项建立AHRC资助的研究网络的建议，以开发一个研究英国屏幕行业的新框架，其中包括在奖学金和政策中代表性不足的部门。该项目将通过探索短暂的数字屏幕产业的管理和保护，以及在广告等具有文化影响力的屏幕产业中的身份和“他者”问题，为AHRC艺术与人文学科的数字转型主题做出贡献。它还与AHRC的创意产业集群计划和创意经济研究相联系，旨在促进新的研究议程，为这些奖学金计划做出贡献。该网络将从2021年11月起延长12个月。英国没有电影产业。它有许多电影工业。除了我们熟悉的故事片和广播电视之外，还有更多的行业——制作音乐视频、屏幕广告、时尚电影和品牌内容的行业，以及制作企业、政府、非政府组织和医疗视频的行业。这些部门至少在艺术上具有创造性，至少在经济上具有生产力，与那些产生更多“主流”媒体的部门一样。然而，与这些相比，它们是隐藏的屏幕产业。他们每年可能制作成千上万的动态图像作品，在英国和国外观众的个人、职业和文化生活中扮演着每一个可能的角色（通常是通过在线传播），但这些作品的制作者很少被考虑到英国创意产业的公共政策或文化欣赏中。此外，它们的传统深厚，可以说比那些不那么隐秘的行业更深厚。这些形式的动态影像内容中的许多都深深植根于最早的电影制作，产生于19世纪后期，20世纪几代杰出的电影人在电影和电视广告、工业纪录片和公共信息电影等领域工作的丰富成果构成了我们的动态影像档案的很大一部分。这个开创性的网络将开始连接这些点的基本任务，通过在英国电影学院的一系列焦点小组和UWL的小组讨论，将当代创意从业者和他们的行业团体与学者、政策制定者、历史学家和档案学家聚集在一起，讨论和剖析有关未来研究议程、档案保存和公众参与的关键问题。他们的讨论将整理这些隐藏屏幕行业的产业结构、经济驱动因素和影响以及人口构成方面的专家知识，并将其暴露于关键挑战和公共利益问题，包括策展保存、档案去殖民化、确保民主访问、问责制和对这些隐藏行业的公众监督。汇集这些见解和对紧迫问题的初步答案，该网络旨在确定未来对许多这些单独部门的研究的优先事项，提出解决多样性标准和屏幕内外区域代表性的紧急行动，并为在这些部门工作的新策展人网络提出潜在的行动计划。只有当隐藏的电影产业不再被隐藏，我们才能全面准确地掌握英国电影制作的过去、现在和未来。通过首先综合当前的知识，然后为未来的研究提供更多信息，这个研究网络打算对屏幕研究和屏幕实践产生深远的影响，这种影响可能会持续许多年。

This is a proposal to establish an AHRC funded research network to develop a new framework for studying the UK's screen industries which includes sectors under-represented in scholarship and policy. The project will contribute to the AHRC Digital Transformations in the Arts and Humanities theme by exploring the curation and conservation of ephemeral digital screen industries and the question of identity and 'other' in culturally influential screen industries such as advertising. It also connects to the AHRC's Creative Industries Clusters' Programme and Creative Economy research, and has been designed to foster a new research agenda to contribute to these programmes of scholarship. The network would extend over a period of 12 months from November 2021. The UK doesn't have a screen industry. It has many screen industries. Beyond the familiar worlds of the feature film and broadcast television sit many more sectors - the sectors that make music video, screen advertising, fashion film and branded content, those that produce corporate, government, NGO and medical video. These sectors are at least as creative artistically, and at least as productive economically, as those that produce more 'mainstream' media. Yet, compared to those, they are hidden screen industries. They may produce thousands of moving image works every year, playing every possible role (often through online distribution) in the personal, professional and cultural lives of viewers in Britain and abroad, but those who produce them are rarely if ever factored into either public policy for, or cultural appreciation of, Britain's creative industries. Moreover, their heritage is deep, arguably deeper than the less hidden sectors. Many of these forms of moving image content are deeply rooted in the earliest filmmaking, produced from the late 19th century, and the rich output of generations of brilliant filmmakers working across the 20th century in such fields as cinema and TV advertising, industrial documentary and public information film constitute a vast proportion of our moving image archives' holdings. This ground-breaking network will begin the essential task of joining these dots, by bringing together contemporary creative practitioners and their trade bodies with academics and policy makers, historians and archivists in a series of focus groups at the British Film Institute and panel discussion at UWL to debate and dissect key questions about future research agendas, archival preservation and public engagement. Their discussions will collate expert knowledge of the industrial structures, economic drivers and impacts, and demographic makeup of these hidden screen industries and expose it to critical challenges and public-interest questions about curatorial preservation, de-colonialising the archives, ensuring democratic access, accountability and public scrutiny of these hidden sectors. Pooling these insights and preliminary answers to pressing questions, the network aims to identify priorities for future research on many of those individual sectors, flag up urgent actions to address diversity standards and regional representation on and off screen, and suggest potential programmes of action for a new network of curators working in these sectors. It is only once its hidden screen industries have ceased to be hidden that we will have a full and accurate grasp of what filmmaking in Britain was, is and will go on to be. By first synthesising current knowledge, then feeding much future research, this research network intends to have a profound impact on both screen studies and screen practice, one that may be felt for many years to come.