SUBMISSION 13
Memorandum submitted by The North West
Film Exhibitors Consortium
FILM INDUSTRY SELECT COMMITTEE INVESTIGATION
The North West Film Exhibitors Consortium welcomes
the Culture, Media and Sport Committee's inquiry into all aspects
of the British film industry including the performance of the
Film Council in promoting both a sustainable industry and awareness
of and access to the moving image.
The North West Film Exhibitors Consortium was
established in 2001 and seeks to promote, maintain, improve and
advance education by the encouragement of cultural film and moving
image exhibition activity in the North West. It also seeks to
benefit the people of the North West region by enabling and supporting
the development of cultural cinema throughout the region.
The Consortium is a Limited Company operating
on a voluntary basis. This includes leading cultural cinemas such
as Cornerhouse in Manchester, The FACT Centre in Liverpool, The
Dukes in Lancaster and the Brewery Arts Centre in Kendal. It also
includes key community cinemas such as the Plaza in Crosby, the
Grand in Clitheroe and Knutsford Studio Cinema serving the Borough
of Macclesfield. The membership also includes a number of leading
UK festivals including the Kino short film festival, Viva, the
Spanish film festival and The Commonwealth Film Festival. Film
Societies play an active role in the consortium and a number of
the region's film societies are part of the membership. These
include Bolton Institute Film Society, Frodsham, Keswick Film
Club and Southport Film Guild among others. The North West Film
Archive, which preserves the region's moving image heritage, is
a member of the Consortium.
The Consortium works in close partnership with
North West Vision, the region's strategic media agency, and where
possible with the bfi, the Film Council and with other
regional and national partners.
Q: Does the film industry merit support from
Government, if so, how can existing support be improved?
The Consortium feels very strongly that the
film industry, in its widest form, merits support from Government.
In particular, the Consortium believes that specialised cinema
or cultural cinema, merits particular support from Government.
The film industry makes an enormous contribution
to the UK economy. Figures from the 2001 DCMS Creative Industries
mapping survey estimate that the creative industries as a whole
generate £112.5 billion revenue, provide export earnings
worth £10.3 billion and account for 5% of GDP. Within this,
film and video account for £3.6 billion in revenue, exports
of £653 million and employ over 45,000 people.
However, we believe that film and the moving
image is much more than a key part of the UK economy. It is the
key language of the twenty-first century. As the report of the
Film Education Working Group noted, "The education, information
and entertainment industries are becoming ever more dependent
upon the communicative power of the moving image, whether delivered
through cinemas, broadcast, video or online. The existence of
an informed citizenry—essential to the democratic process—is
increasingly sustained through the moving image media." [2]
For the North West Film Exhibitors Consortium
(NWFEC), the key issue is to improve access to and education about
the moving image. The majority of members are from the non-profit
cultural or specialised cinema sector. We believe that it is most
important that this sector continues to exist and to be supported.
This requires continued and improved funding.
Many of the members of the Consortium provide
access to cinema and the moving image in areas not otherwise provided.
Particularly the film societies who offer a wide programme of
screenings and education events in areas that would not be considered
viable by larger (often commercial) exhibitors.
In addition, many of the cinemas that are in
membership of the Consortium, seek to show a wider range of films
than their commercial equivalents—promoting the best of
British and world cinema. They combine this with an active education
programme, including work with schools, young and older audiences,
director talks and a wide range of events. In their programmes,
members extend activity beyond that supported by the market in
order to nurture and develop new talent and promote new work and
to provide access to the widest range of film to the widest range
of audiences.
The recent KPMG report produced for the Film
Council on the specialised exhibition and distribution sector
makes a strong case for intervention in the specialised cinema
sector. "If a vision of access for all to a wide range of
films is to be realised, significant and well-targeted intervention
in the specialised cinema sector needs to take place. Specialised
cinema exists to meet the desire of audiences to see a wide range
of films, at a variety of cinemas or other locations. Typically
venues exhibit a majority of specialised films and are often driven
by a broad educational remit. The free market will not deliver
a sustainable specialised sector nor fulfil the many important
public policy objectives associate with the sector."
Existing support can be improved through:
Continued and improved funding for exhibitors
and distributors operating in areas beyond that supported by the
market.
Continued and improved advocacy for specialised
exhibition—approximately 80% of UK cinema box office is
accounted for by US based distributors with largely mainstream
product. UK audiences have access to a very limited range of films.
Expanded support and autonomy for regional screen
agencies, working in association with the regional development
agencies, and a commitment by them to promote and support exhibition
on a par with production.
Through ensuring that there are ongoing financial
resources for exhibition—welcome the Film Council's recent
investment and need to ensure this is ongoing and improved and
that it is utilised to support cultural and specialised cinema.
By focusing more clearly on the use of public
funds in areas where the market stops.
Through supporting:
— Education programmes and initiatives.
— Marketing and publicity campaigns
promoting specialised cinema.
— Policy development/campaigns at a
regional and national level advocating specialised cinema.
— Providing infrastructure support
and development—for venues, societies, festivals, archives.
— Supporting training and development.
— Distribution initiatives.
By ensuring that there is a clear focus on the
regions and regional audiences—and through celebrating regional
identity, provide equally for audiences outside London.
Empower the regional screen agencies—working
closely with the regional development agencies to ensure that
film, and from our perspective, exhibition, is clearly on the
top of the agenda. Promote an integrated approach between producers,
exhibitors, educationalists and distributors.
One per cent of all cinema ticket sales should
be used to establish a fund for development of new films. and
to establish opportunities to screen a wider range of work.
Ensure absolutely that exhibition is taken as
seriously as production and distribution. There is no point making
films unless they are going to reach an audience.
Educating audiences—from school age upwards.
There should be lifelong learning. As we move into the twenty-first
century the need for the entire population to be cineliterate
and aware of the moving image as it becomes more and more a part
of everyday life increases the importance for the film council
to be seen taking a strong lead in education issues. The Film
Council must establish itself as the organisation teachers and
the general public automatically associate with advice or education
related to the moving image.
Q: How can the production, distribution and
exhibition of British films be improved in the UK? Is the right
balance being struck between these elements of the industry?
OUR FOCUS
IS EXHIBITION
AND DISTRIBUTION
Important to focus on both exhibiting British
Film and ensuring that UK audiences have access to the widest
range of product—that means showing world cinema and British
and European film. British films are shown in the same cinemas,
festivals, and film societies etc as all films, the way to improve
the exhibition of British films is to increase audiences for film
in general.
We would like to see:
— support for smaller distributors—especially
those who will take on non-mainstream/ non-Hollywood films; support
the taking of risk; build marketing and publicity campaigns and
provide resources to support this;
— support the PA and fund established
by the Film Council but would like to ensure that this fund is
built up over the coming years, £1 million is a good start
but it's a drop in the ocean in the global market; and
— support specialised exhibitors—
research has shown that specialised films do best in specialised
cinemas.
At present the support for production, exhibition,
distribution in the UK is imbalanced with the vast majority of
funding and support being given to production—would like
to see this imbalance redressed but not at the expense of any
one sector but through securing additional resources and support
wherever possible—bringing the level of support for exhibition
and distribution closer to the level of production support.
Q: How effectively has the Film Council contributed
to a sustainable film industry since 2000? Does the Council have
the right strategy and approach?
The Film Council and in particular the Regional
Screen Agencies are still in their infancy. The NWFEC wishes to
support them and not to demand instant results. They must be allowed
time to establish themselves and develop their roles. We know
a great deal of work is being done and this must continue.
Until recently there has not been any representative
from exhibition on the board of the Film Council. We hope that
the appointment of Steve Knibbs will help to redress the balance,
and that he and the other members of the board will take the views
of and issues facing specialised exhibition into consideration
in their planning. We would hope that at some point in the future
the representation of exhibition on the board may be increased.
COMMENTS ON
THE PROPOSALS
ON SEDS
The NWFEC is concerned that there may be potential
use of public funds to finance commercial cinema operators. We
welcome multiplexes showing a more diverse range of product but
if they are committed to this they are able to do so without the
Film Council paying them to do it.
The NWFEC does not consider that the discussions
of four walling and "renting" screens from commercial
exhibitors is the best use of public funding. Neither is the proposal
to use the vast majority of new capital funding on digitising
cinemas.
It is necessary to consider seriously a long-term
plan for capital spend on modern exhibition facilities which include
provision for digital projection alongside traditional 35mm from
the start.
Importance of recognising diversity and need
for flexible solutions including the need for refurbishment of
existing venues, particularly in the regions and in rural areas.
The experience of watching films in traditionally designed venues
must be preserved, alongside new state-of-the-art venues. Only
last week we learned that the Palace cinema in Stalybridge is
to be converted into a nightclub. It's owner has cited lack of
successful product, the expense of operating the building and
the threat of the proposed multiplex on Ashton Moss as his reasons
for closure.
Consideration should also be given to addressing
the needs of rural areas where there is little or no provision
for film exhibition of any kind. This may involve investigating
the possibilities of touring cinema, as the costs of creating
new venues in these areas would be prohibitive.
Specialised and cultural film is most often
screened in venues where the architecture of the building is attractive
to its audience and an important part of their cinema-going experience.
This often means older buildings which are difficult to adapt
to meet modern access requirements. The new Disability Discrimination
Act to be introduced in 2004 will have prohibitive costs for smaller
exhibitors (including commercial independents) who may be forced
to close if they cannot find the necessary funds to pay for the
upgrades to their venues. The result of this being even less choice
for the public and less access to film and the moving image. There
is concern that there may be potential use of public funds being
directed towards larger commercial operators who are able to find
the resources within their own funds to meet the requirements
of the Act. If funding is to be made available to assist exhibitors
to upgrade their access facilities, criteria for eligibility must
be attached which ensure that funding goes to where it is needed
most.
Increasing competition for prints, particularly
in over -screened areas or where specialised exhibitors are co-located
with commercial cinema—must not be at the expense of the
specialised exhibitors. There must be an even playing field here.
Those who have the industrial muscle of having screens in London,
especially the West End, must not be allowed to influence the
allocation of prints of first run product in the regions.
Specialised exhibitors play a key role in supporting
new talent and new film makers, in providing a platform and building
an audience—Lynne Ramsay, Shane Meadows and recent BAFTA
winner Asif Kapadia.
The Film Council should be encouraged to celebrate
the successes of the specialised exhibitors, and capitalise on
this in generic marketing and press relations campaigns. The role
of exhibition within the film industry as a whole needs to be
refocused. There should be recognition of the role that exhibition
plays in audience development. The value of the front line interface
between audience and exhibitor cannot be calculated in financial
terms. The production and distribution elements in the industry
should develop a working relationship with exhibitors which enables
them to capitalise on this.
The desire to see a quick result for funds is
understandable especially politically, but unfortunately experience
shows that any successes with four walling of screens in multiplexes
can only be a short term aim. It could be argued that the major
operators will cease this function as soon as they stop receiving
rental payments.
We support the article by Alex Cox in the January
2003 issue of "Sight and Sound" magazine, especially
for its recognition of the dangers of allowing our industry to
be controlled from America. The power and influence remains with
those who control the means of production.
Q: What has the Film Council contributed to
education about, and access to, the moving image?
To date the only tangible contribution to education
is the promise of £1,000,000 for education. We are still
awaiting news as to how this will be spent.
Currently there is no Education Officer in the
Film Council. Appointing someone with specific responsibilities
for the delivery of Education Services, liasing with Film Education
and the Regional Screen Agencies would seem to be a good move
forward and a beginning for utilising the money recently earmarked
for development of education provision.
Q: What should the Film Council do with the
bfi and MoMI?
The recent developments at the bfi, which
have seen the demise of the Cinema Services and Booking Services
departments, and possible closure of Education Projects or its
absorption into the NFT leave it unclear as to where such functions
may be found in the future. Is this something which could be delivered
regionally through the Regional Screen Agencies—meeting
the needs of individual client organisations at a more local level?
The NMPFT in Bradford has an excellent reputation,
and is situated in a good location for access from many parts
of the country. Expanding this site would be a good way of further
developing MoMI, sharing resources, exhibitions etc with London
and improving access to such material for large numbers of the
population. Limiting such activity to London excludes large sections
of the community who cannot travel there due to cost, time constraints
etc. To meet the needs of social inclusion and cultural diversity
and serve the audience properly, there must be provision of such
facilities outside London.
The North West Film Exhibitors Consortium is
pleased to have the opportunity to make the comments above and
hope they will be seen as useful to the Inquiry into the current
position of all aspects of the British Film Industry. We look
forward to working with the Film Council through North West Vision
in the future.
3 March 2003
2 Making Movies Matter-Report of the Film Education
Working Group. bfi 1999 p 6. Back
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