States Sources of Power

Through research and analysis of differing states, it is evident that the idealisms of power is able to be categorised in three separate sectors, Economic, which can be argued to be the most influential and dominant source of power, Military, which enables an essential element of authority and weight, and finally Gracchi’s theory of Soft Power which permits certain states to exert influence despite not being the most equipped of wealthiest, applying recognised/sustained cultural values and negotiation rather than through the means of force or finance. 

Unlike previous eras in history, the fear of war is no longer as predominant, as many states similarly are concerned by the destruction and hurt which can potentially be caused through contemporary weaponry, nuclear, and the obtainable devastation this could have on the world and those living with in it. Consequently Military power is no longer seen to be a main demonstration of power, as in present times the act of war rarely occurs, therefore giving weight to alternate sources of power such as soft. Despite this States continue to spend a colossal amount of money on warfare resources, out of fear of terrorism, September the 11^th attacks on the United States, or Civil Wars which scarcely but however can still occur.

America a state which is predominantly perceived to have the most power throughout the world, has an economy which has strengthened throughout time, the dollar ($) now suggested to be the strongest form of currency, enabling this state to have the means to form a considerably large army, one which is considered to be a hyper-power, and able to project its power and influence globally, through its desired weaponry such as submarines, aircraft, ships etc. which are based skilfully in differing areas of the world, accordingly in a time of conflict America would be able to exert its power quickly and efficiently, on states which are inferior and weaker.     As well as being superior in terms of hard power (military and Economic) America’s  power is too enhanced by its means of Soft power, and the concept of the ‘American Dream’ this conception is focused on mainly through TV, wardrobe and dialogue which has been adopted by many alternate western states. Allowing America to become a state of recognition and having many similarities to differing countries around the world.

Dissimilar to many other alternate states such as the United Kingdom, France etc. whose economy and military position has been stable and continues throughout the course of history, China's position in all areas of power has changed and adapted rapidly. Suspected to be a result of their highly educated fixed population, supporting them to be the future of a High tech 'workshop of the world’ facilitating a growth in the Chinese economy and the overall value of their currency, highlighting that China is a potential power. Despite the considerable number of Chinese military participants, it is debate that china would easily be defeated in the happenings of a war as its weaponry is out-dated therefore making the state inferior and vulnerable to alternate states, in spite of this China is still considered a threat, as it is apparent that while their economy is becoming stronger and stable they are developing military strategy of developing already existing successful weapons, such as aircrafts from Russia. With the ambition to produce a mass of these improved war resources.  Reinforcing that China is now perceived as a power and seen to be a threat to the most dominant of states America, as a result of its prompt and constant economic  and military progression. However an alternate element of power soft power is something that china seemingly lacks in, as China is governed through a capitalist Government rather than a communist whom many states in the western world would be able to relate to. However china is seen to be an inspiration to developing and third world countries due to its ancient civilization.

real

La déforestation est la compensation ou l'enlèvement des arbres d'une zone de forêt pour de nombreuses raisons différentes.La déforestation ne s'applique habituellement pas aux cas où les arbres sont remplacés.

dans le même ou un autre emplacement.Aussi la déforestation se réfère généralement à la compensation à grande échelle de régions entières plutôt que de compensation limitée ou sélective.

 

Nous avons coupé les arbres pour s'abriter, des armes, du papier, des meubles et du logement. Des milliers et des milliers d'hectares de forêts ont disparu dans le monde entier

 

Un autre facteur important influençant la déforestation est le besoin de davantage de terres, les forêts sont défrichées pour faire place à un développement industriel, le logement ou l'agriculture.

 

french!!!!!!!!!!!!!!!!

Deforestation is the clearing or removal of trees from an area of woodland or forest for many differing reason usually commercial. Deforestation usually doesn't apply to cases where the trees are replaced, usually as saplings, in the same or alternative location in order to replace those that were cut down. Also usually refers to large scale clearing of whole areas rather than limited or selective clearing.

Man has cut down trees since we first appeared, changing and adapting the environment to suit our needs in order to provide the things we require to live successfully. For kindling, shelter, weapons and in more modern times paper, furniture and housing. Thousands upon thousands of acres of forest have disappeared worldwide to fill our insatiable appetite for wood and land, yet they also have to meet the demands of the vast majority of the worlds other species both plant and animal. 

Another important influencing factor for deforestation is the need for more land, so forests are cleared to make way for industrial development, housing or agriculture (either livestock or crops) or even a dump. 

help!!!!

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.

To qualify as a British film the needs to meet three of the following six criteria:

• A British director
• A British producer
• Predominantly British cast
• British production company
• Subject matter that informs on the British experience
• British identity defined by the BFI in Sight and Sound

Co-productions with British input are often classed as British films.

BBFC - An independant, non-governmental body which classifies and censors film, video as well as computer and console - based games released in the UK.

British Council - The official UK agency for international cultural relations. Its film department promotes new British film internationally principally through festivals and showcases.

BFI - Aims to support, develop and promote the art forms of moving image.

UK Film Council - Promotes understanding and appreciation of Britain's rich film and TV heritage and culture.

British Film Council - Government backed agency for film in the UK ensuring that the econmoic, cultural and educational aspects of film are effectively represented at home and abroad.

What do the British Box Office figures tell us about the British Film Industry?

It shows that American films are more popular in Britain than British films. Due Date, Jackass 3D, Saw 3D and Paranormal Activity 2 are some of the most popular films at the moment. This is slightly unusual as they are not four-quadrant pictures however they are sequels of popular films which would have drawn people in. This shows that the British Film Industry produce more specialised/ niche films which don't appeal to wider and larger audiences which is why they get low box office figures both in the UK and the US.

What do stars bring to a film? Why do producers use certain stars?

• Guaranteed sales - good box office figures
• Brings in their fans
• Narrative image - star persona/ typecast
• Interest and attention from the press = publicity
• Expectations of genre
• Used as main market feature

Would the world be different if we relied only on the US film industry?

• US films about wealth/money
• White male dominance
• Foreigners/English are the bad guys
• Women are represented as skinny/ petit/ blonde/ lacking intelligence/ vulnerable

Hypodermic model - The audience is passive and are injected with ideas and beliefs by what they see.

If only American films were available we would lose British identity/culture. British Film Council offer grants to film makers to keep British culture "alive".

Film Financing.

The producer (studio or production company) has to get all the funding for the production before the filming starts. There is always the problem of not knowing whether or not the film will make money - whether it will a success or a failure.

The Government sometimes provide grants for productions, they sometimes have schemes designed to encourage creativity and develop new talent.

A film production can benefit a country by:

• employment opportunities - in the production, catering, accomatation, transport etc.
• develops culture
• advertises the area/location to an international audience - promotes tourism. For example, the Twilight series increased the amount of tourists visiting Forks, where the book/film is set and filmed, considerably.

The UK Film Council used to offer subsidies to filmmakers in the UK meeting a certain criteria. The National Lottery also offers subsidies and grants to UK-based filmmakers. 

The UK introduced the Producers' Tax Credit in 2007 to encourage film producers to film in the UK. This helped bring large scale productions to the UK. For example, The Dark Knight was filmed at Pinewood and Shepperton studios. 

Pre-sales involves the producter selling the rights to distributors of the film before it is made, which is the most common method of film financing. In order to secure their investment, distributors expect certain elements that will guarantee success. For example, certain famous actors/ directors/ storyline etc. Pre-sales are usually done by region e.g. Europe, North America. They can also be made of DVD and TV distribution rights which is likely to be the case if the movie studio distributing the film is part of the same conglomerate as a TV station e.g. Horizonal Intergration. This also stops piracy.

Advertising

Above the line - is advertising through media like TV, cinema, radio, magazines/newspapers, web banners and web search engines. This type of advertising is conventional and is considered impersonal.

Below the line - is efficient and cost-effective for targeting limited and specific groups of the audience. This can be tie-ins with other products and companies.

Film Distribution.

The film distributor is responsible for releasing a film for public viewing either theatrically or for home viewing (TV/DVD/download etc) 

A distributor might do this by directly distributing the film to their own theatres or they can send it to sub-distributors. If the distributors is working with a theatrical exhibitor the distributor will write a contract to say how much the exhibitor will pay them from the gross ticket sales. After the distributor gets their shares in the gross ticket sales they transmit the remainder of the profit to the production company. 

Vertical Integration Distribution:

The stages of production and distribution are done by the same company e.g. large Hollywood production companies can afford and have the resources to do this

Horizontal Distribution:

One company produces the film then has another distribute the film. This allows the companies to share the risk of failure and if the film is a failure then it is less of a loss for the companies. This is done by the distributor acquiring the legal rights to show the film from the producers. British productions use this method. Independent producers have to sell their films to different distributors in each territory.

Local distributors only work in their country and will share the profits made in that country with the film maker. There are 90+ territories worldwide.

How are films usually launched?

Scheduling - Often come out on a Friday as it is the end of the week so children and adults will have the time to visit the cinema. 

Film Distribution Association - work out how and when the film should be launched Seasonality, light weekends and other releases are considered before they agree on a time for the film to be launched to ensure optimum success.

There is usually about 10 releases in a week.

Prints - (old way of distributing film)

Independent/ specialised films made about 10 prints or less of a film and toured it over 6 month period to all areas around the UK. Mainstream films had about 200+ prints made which would be simultaneously shown in all major UK cities. Transportation around the world was expensive and difficult. The prints had to be hired by the exhibitor, they were easily damaged and expensive to store as they had to kept at a certain temperature and condition.

The success or failure of a cinema release determines when and how the DVD/ TV releases will happen.

5 major distributors will account for 90% of box office.

Wide Release - used for US major distributors/ films need £2 million+ to make a wide release. This type of release requires heavy investment in prints and national advertising. The producers and distributors can recuperate their investment quicker. Also the revenues from the DVD sales can be gained faster from a quickly-executed theatrical release. The shorter the time period between the theatrical release and the DVD release, the greater the potential for DVD income. 

Modified Wide Release - The film will open in a few major markets and expand week by week to build up awareness and allow positive word-of-mouth reputation to develop. This type of release would initially be supported spot advertising in a certain area e.g. one city. It may then move to national advertising once it expands to other markets.

Exclusive and Limited Runs - Exclusive and limited runs begin with engagements at a limited number of screens, traditionally in large urban areas e.g. Toronto. Based on favourable reviews and positive word-of-mouth depends on whether or not the film will move to additional theatres. This release is usually used for upscale "art-house" or foreign films and may be part of a platforming strategy where critical acclaim in an important market will assist in providing momentum for a wide release.

Territorial Saturation - Territorial saturation involves saturating a territory with bookings, heavy advertising and promotion before moving on to another territory. This method would be used for films tailored to specific markets. In Canada this would be seen with French-language films, which primarily would be well-received only in Quebec. It is also used by independent distributors for exploitation or family movies.

Universal Release - The film is released in several countries on the same day. For instance a major blockbuster is sometimes released in the USA and the UK on the same date.

Digital Distribution - quicker/cheaper/gets straight to the audience who want to see it. Independent productions use this method. The main attraction to this type of distribution is the way it can get directly to the audience with minimum business overheads involved which makes it cheaper for the consumer. It has been blamed for media stores having to close down. DSN (Digital Screen Network) sites supports new facilities in 211 screens across the country (out of 33,000). This is a small but important step of change towards full digital cinema.

49% of all DVD rentals are now generated online. 

Only Showcase remains in American hands but all the other chains are deeply committed to distributing American films. 

How film makes its money back:

Promotional screens -> Cinema -> Hospitality (planes/hotels) -> DVD rental -> Pay TV/VOD -> DVD retail -> Free TV -> Library

Digital distribution is changing this order because it allows it to go straight from cinema to DVD retail, Pay TV and download at the same time.

A film recuperates most of its budget through DVD sales. From 40% of DVD sales 75% is from Retail and 25% is from Rental. 28% is made from TV, 25% from Cinema profits and 7% from other sources.

The more times and places a film is exhibited the move money it generates. There are around 45 international areas in which the rights to exhibit films are regularly traded. 20 major international marketplaces: Sundance - Utah, Cannes - France, Toronto Festival - Canada

Sales agents for film rights tend to use the same set of generic internal percentage to make estimates as to how a film will sell internationally. 

Europe - 39%

North America - 33%

Far East - 16%

Latin America - 4%

Other - 9%

A film exhibition sale is generally a 75-25 split between a vendor (cinema/retailer/TV channel) and a distributor - who deducts 35% commission and costs "off the top".

Royalty Model - Distributor pay the producer a 35% royalty of the profits made

"Off the top" Model - Distributor takes 35% commissions + 25% of costs.

Cinema hasn't been seriously affected by the recession. As people still want to see films and go out for the cinema experience. The high months are May, July, August and Jan/Feb

40% of independent British films never gross more than 100k at the box office as opening in over 100 screens significantly increases the cost.

DVD Sales

Audio-video specialists - 35%

Supermarkets - 23%

Generalists - 18%

Mail order - 15%

Wholesalers - 9%

Supermarkets have come to dominate DVD sales pushing the average retail price of DVD to £7.42.

Pay-per-View & VOD tend to be more profitable as the costs of sale are born by the TV platform.

Subscription & free TV fired-fee licensing deals depend on the performance history of the film.

Producer - 60%

Distributor - 40%

Recoupment is organised into a corridor and made from a central collection account.

Film Marketing 

The marketing campaign is the most expensive part. 

• Posters/adverts in newspapers/TV/trailers
• New technologies - internet/websites
• Viral - quirky/odd
• Synergies - gets other companies/products involved
• Above the line/ Below the line

Independent distributors in particular don't have press departments and will hire a press agency to run a pre-release campaign.

Distributors will consider the use of advance public screenings to create word-of-mouth and an advance buzz about a film.

french

even though i prefer to watch films in the cinema, there are also a lot of disadvantages to watching a film at the cinema rather than at home. I find it so annoying when certain people keep going to the toilet, or eat their food loudly, but most anoying is when they are playing on their phones or talking to their friends. It make me angry because people pay to go and see a film and then get distratcted by inconsiderate people.  so frustrating.

même si,Je préfère regarder les films au cinéma,il ya aussi beaucoup d'inconvénients à regarder un film au cinéma plutôt qu'à la maison.Je le trouve tellement ennuyeux quand certaines personnes continuent d'aller à la toilette ou de manger leur nourriture fort,Mais le plus irritant, est quand, ils jouent sur leur téléphone ou de parler à leurs amis. Il me mettre en colère parce que les gens payent pour voir le film, puis se laisser distraire par des gens inconsidérés. très frustrant

it's very difficult to decide what is better to watch a film at home or at the cinema because both have advantages and disadvantages. But if i had to chose, i would say i prefer to watch films at the cinema, because in my opinion action and horror films are better on a big screen with surroud sounds, beacuse the special effetcs helps build up the tension. Even though sometimes it is nice to watch a film from the comfort of your own bed. 

C'est très difficile de décider ce qui est mieux pour regarder un film chez soi ou au cinéma, parce que les deux ont leurs avantages et inconvénients.Mais si je devais choisir,Je dirais que je préfère regarder les films au cinéma, parce qu'à mon avis, les films d'action et d'horreur sont mieux sur grand écran avec son surround.Parce que les effets spéciaux, aider à renforcer la tension.Même si parfois il est agréable de regarder un film dans le confort de votre propre lit.

I think that cinemas will always be busy, because it appeals to people of all ages. but i dont think it is as popular as it used to be, as now there are so many other ways that people can watch new films, because of new technology such as dvds, donwloading, etc 

sans aucun doute le cinema sera toujours occupés, parce qu'il fait appel à tout le monde,de tous âges différents. mais je ne pense pas c'est aussi populaire qu'elle l'habitude d'être, parce que maintenant il ya beaucoup d'autres façons que les gens puissent regarder les nouveaux films, car des nouvelles technologies comme le DVD et téléchargement, etc

a terre

During the first years of the World War 1914-1918, the concept of being a soldier was associated with ideas of heroism, courage and gallantry; however Owen contradicts these ideas stating 'This book is not about heroes.' Wilfred Owen, a former patriot, writes of the cruel realisms of war and conflict, and the suffering inflicted on those who were fighting, highlighting that there is no glamour or glory in battle. This is successfully conveyed as throughout Owens poetry the soldiers appear and are portrayed as weak and defenceless a juxtaposition to the stereotype, which many would have associated with these courageous and fearless men. Owen is evidently trying to unsettle those who believed opposite, individuals who were of the opinion that to fight for ones country was honourable and moral, this was due to propaganda poetry of the time such as, Jessie Pope, who fools the young men into believing fighting for ones country was admirable ‘For there’s only one course to pursue, Your country is up to her neck in a fight, And she’s looking and calling for you’, this is shown through her most popular poem ‘Who’s for The Game’. It is conveyed through Owen's 'Preface' that he writes his poems to inform and notify, rather than to try and delude or deceive those who were waiting 'all a poet can do is warn. That is why the true poets must be truthful' Owen writes to try and prevent a war from reoccurring demonstrating that there is no honour in battle, and successfully demonstrates  war to be a waste, for both the boys who were fighting, and the land which was being demolished and destroyed as a result of the constant battle.

It is evident from all of Owen's previous work that his focal intention is to try and avert another war from occuring, however, it is apparent that in 'Strange Meeting' Owen questions his ability to do so. Fearing, he may have killed the one soldier who has the potential to tell "the truth untold" ('Strange Meeting') This is the first time we see Owen doubting his ability, this may be due to the fact that he too has accepted the responsibilities of war, and the realisation that he like many others have been apart of the killing and demolishing of fellow comrades prospects and abilities. Stating there to be no glory or honour during or after battle but instead sorrow, misery and regret.

The full poem consists of 65 lines, separated into 12 individual stanzas. Through the skillful use of para rhyme and enjambment the poem appears unsettling, reflecting the overall mood and feeling and mood of death and desperation to live just that bit longer, "A short life and a merry one, my brick!"

"A Terre" which translates to "to the ground" is a religious reference, from the book of 'Genesis', which was commonly spoken at religious funeral services, we are aware that Owen had a religious upbringing, and therefore occasionaly reference this in his poetry. The poem depicts the lack of glamour and glory in war, as the reader witnesses Owen pleading to "God" and expressing his desire and longing to live "We used to say we'd hate to live dead old,Yet now . . . I'd willingly be puffy, bald, And patriotic."similarly in Miners "arms streched out, well cheered" and "comforted years will sit soft chaired" Both indicate the comfort of being old. However, it is too apparent that Owen acts as a spokes person for the other dying comrades, therefore in its entirety "A Terre" is the philosophy of many soldiers, and the bleak way in which each will live out the remains of their life, A juxtaposition to the honour many men would have hoped war would have provided.

Similar to many other of Owen's work he alternates between the pains of the past; the suffering, agony and anguish, felt during the actual experience of battle, as well as the pain of the present "he plunges at me guttering, choking, drowning" ('Dulce et Decorum Est') through the use of gerund verbs, it demonstrates to the reader, Owen as well as many who wold have fought, are unable to escape the image of their dying comrades which haunts and disturbs, from within their memory. Conveying the suffering of war time, are never endings. Owen usually develops these ideas through scenarios such as dreams and nightmares, therefore allowing the reader too associate with this terror and fright.

A Terre is a poem about the physical loss suffered by a soldier entrapped within his deteriorating body. He is describing to the reader the mental and physical effects of his condition that have made him less than human, "I'm blind and three parts shell," and powerless over his own body "fingers fidgit like ten idle brats" Owen skillfully suggests the soldiers frustration through his constant use of emotive language. 

Much like Owen's "Disabled," the speaker seems to be waiting for something "sat in a wheeled chair, waiting for dark" that will allow him to escape from his situation, even if that means death. Whilst he waits he reflects upon the life war has made him lose, a once healthy and undeniable boy who had "Artists silly for is face" ('Disabled') However now Owen suggests that he as well as many others are so damaged that even rodents have more freedom than them, "O Life, Life, let me breathe, a dug-out rat!" Suggesting these creatures to be "safe" a contrast to how Owen, as well as the reader views the soldiers. Therefore understandable why many suggest being "insensible" unaware or not remorseful for the lives or limbs that you have taken, is the only way to live through the war yourself. This assists in suggesting that war does not result in glory, and the effects of war are not glamorous, but instead devastating, cruel and undignified. Owen suggests that many who are fortunate to return from battle, still however die an invalid of disease be it mental or physical.

Following on from this, an object which many would presume and associate with being glorified "I have my medals" Owen however responds rhetorically, explaining that instead medals "are the disks that make his eyes close" It is evident from research that Owen studied the classics at school therefore throughout the entirety of this poem he makes close reference to these times, revealing in a previous stanza that similar to Owen, Greek Gods were too "buried with pennies on their eyes." Conveying there to be no glory or glamour during or after war, but instead loss, distress and anguish. 

The Kings Speech 

• momentum pictures distributed the kings speech 
• 3.25 million on the open weekend
• Slumdog millionaire was a massive british film industry hit had an opening gross of £1.83 million
• Odeon Leicester Square £106 million 
• Odeon Guildford, must be the target audience/demographic. 
• Was the UK film council that financial backed the kings speech
• Another successfully British film is Danny Boyle's 127 hours 
• Can have a marathon publicity effort, Strong Critical Support and bold positioning by distributors are needed in order for a film to become successful
• Slumdog grosses rose on its second and third weekend, contributing to a £32m 
• Quote the "10% rule", which suggests that the UK gross of a film in sterling will usually be around a 10th of the US figure in dollars.
• The kings speech was funded by 6 independent bodies

The kings speech extra information

How to define the issues within the British film Industry

Avatar Comparison between UK and US

US

Helped along by pricey tickets that brought in a projected $325 million domestically after only three weekends in theaters.

Mass marketing. With all the talk of the "Twitter effect" and social media making or breaking Hollywood releases, Fox took a decidedly big-picture approach to go to market with the most expensive film ever made.

"Avatar" was a costly gamble for Fox -- its production budget was once confirmed by the studio to be $237 million but believed to have climbed as high as $300 million with an additional estimated $150 million global marketing outlay.

In fact, no footage from "Avatar" was shown until a few months before its wide release -- during ComicCon in summer 2009 -- which was a tactical part of Fox's strategy to manage the film's hype. "We consciously held back, because this isn't a movie you want to start being too loud about too early on"

The studio teamed with Coke Zero and McDonald's for extensive promotions that gave fans access to the virtual augmented-reality world of Pandora. Consumers could download an AR application from AVTR.com and scan their Coke Zero can or 12-pack to take a virtual ride in the Samson helicopter featured in the film. McDonald's took a similar approach with its Happy Meal and Big Mac tie-ins, creating a virtual "Avatar" space called McWorld, where fans could interact with other aspects of the Pandora environment. Both marketers had large-scale media buys to promote the tie-ins, including general-market TV buys from Coke and multicultural TV, print and radio ads from McDonald's. LG and Panasonic pitched in for global tie-ins to cross-promote products with similar 3-D innovations, while Mattel partnered on the toy merchandising front.

The first theatrical trailer clocked in at three minutes and 30 seconds  airing during pod breaks for "Glee" and "House."

Who do you believe is the most influential Institutions in the British Film Industry and Why?

Although there are several factors which contribute to the changing and shaping of the British Film Industry, such as audience and public stereotypes, as well as the development of new technology  which enables the use of 3D and high definition enhancing the visual viewing and impact of the film.

However the aspects which assist in influencing the British film industry the most is the Film institutions themselves, such as The British Film Institute which Promotes appreciation and understanding of films and television and The UK Film Council which support and help with development throughout the entirety of the production of the film as well as encourage the growth of the UK film industry.

The UK film council established in the year 2000, is a major force within the British film industry, funded by the government, receiving most of their money through the national lottery, the institute provides expert help and assistance for a bulk of UK films which are both mainstream, and those which highlight new and upcoming talent whether it be actors or directors.  Throughout the years the UKFI have generated £700 million in box office films worldwide, assisting the progress and expansion of over 900 films and features.

It is apparent that Institutes and Companies such as the BBFC – British Board of Film Classification, may have the overall and greatest influence over the British Film Institution, Labelling the Film to be; U, PG, 12A, 12 15 18, or R18, depicts on whom is able to view the picture on the big screen within the cinema. This may cause controversy as if a film is aimed at a younger audience, but rated with a certificate of 15 it conflicts with the targeted viewers, therefore as a result although there may be scenes which suggest and have resulted in the film being certificated a higher age, the overall story and concept of the film may not appeal to this particular age demographic , therefore the production company and those individual/independent companies which have funded the movie run the risk of losing their money, and will receive no profit from the film itself when released.

As well as helping establish films within the UK film Industry, they too have the ability to facilitate certain production company’s such as Working Title and SeeSaw productions, enabling them to make their specific films suitable for American Audiences, this would include slightly changing the trailer, name and maybe the adding or taking away of certain scenes, which too would help the feature appear appropriate for an all American viewing. This is evident in the film ‘The Boat that Rocked’ which when sent abroad, the trailer was changed in order to demonstrate the only American actor to appear to be the focal and main protagonist of the film, as well as this the title of the movie was altered to ‘Pirate Radio’ a term in which would be more appropriate for this target audience.

As a result of sending classical British films, also enables the benefit for the UK film institute’s, as it helps raise the profile of the overall British film industry.

The Kings speech

SPEECH


DIRECTOR
TOM HOOPER

SCREENPLAY
DAVID SEIDLER

CAST
COLIN FIRTH
GEOFFREY RUSH

"The King's Speech" is based on the true story of Queen Elizabeth II's father and his remarkable friendship with eccentric speech therapist Lionel Logue. As the second son of George V, Prince Albert was not expected to become King, but when his brother, David chose to abdicate in order to marry Wallis Simpson, Bertie succeeded him and in 1936 was crowned King George VI. Thrust into the international spotlight, Lionel Logue helped him find a voice with which to lead the nation.


http://www.kingsspeech.com/filmmakers.html

See-Saw

ased in London and Sydney, See-Saw was founded by producers Emile Sherman and Iain Canning. Since inception in 2008, See-Saw has produced Tom Hooper's “The King's Speech”, starring Colin Firth, Geoffrey Rush and Helena Bonham Carter, Jim Loach's “Oranges and Sunshine” starring Emily Watson, Australian box office hit comedy “The Kings of Mykonos” and Anton Corbjin's “Linear”.

Emile Sherman is one of Australia's leading producers whose films include Berlin competition film "Candy" starring Heath Ledger, Geoffrey Rush and Abbie Cornish, Toronto FIPRESCI Prize winning film "Disgrace" starring John Malkovich, award winning stop motion animation film "$9.99" and, as co-executive producer, Golden Globe nominated "Rabbit Proof Fence". Emile was the recipient of the "Independent Producer of the Year Award" at the 2009 Screen Producers Association Australia (SPAA) Conference.

Before forming See-Saw, Iain Canning oversaw production, sales and acquisitions for Becker International and executive produced Anton Corbijn's "Control" and Steve McQueen's "Hunger", both of which have taken prizes at Cannes Film Festival. Iain has worked on films from leading directors including Terry Gilliam, Neil LaBute, John Curran, Michael Caton-Jones and Roger Michell.

See-Saw Films has a first-look deal with Momentum Pictures in the UK and a film finance/equity deal with Paramount Pictures. See-Saw also works closely with sister company Transmission Films, an Australian/NZ distributor.  See-Saw Films has a co-development deal with Buckland Films in which Buckland Films works with See-Saw to co-finance the development of See-Saw's slate.