Titlebook: Creativity And Constraint In The British Film Industry; Duncan J. Petrie Book 1991 Palgrave Macmillan, a division of Macmillan Publishers

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Creativity And Constraint In The British Film Industry978-1-349-21473-0

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ethnology

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British Feature Film Production,; who are not under contract to a major studio. This effectively extends the description ‘independent’ to cover practically all indigenous film-making in this country. As one film journalist recently commented: ‘The only independence British film-makers have regularly enjoyed is independence of a re

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The Film-Making Process: Sales, Distribution and Marketing,than philanthropic. In order for a film to break even, let alone make a profit, in what is a highly competitive and volatile marketplace, it must be sold, distributed and marketed in a vigorous fashion, making full use of the most effective and up-to-date techniques. Considering that a feature must

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Hypomania

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S. Kötterust consider those elements which set its parameters, which effectively constitute the ‘space’ within which it occurs. There are two major examples of a tangible material resource necessary for film-making: finance and technology. Films cost money, often quite substantial amounts of money to develop

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neologism

U. Schmidt,D. Brendemühl,N. Schenk most difficult stage of the entire process. This seems to hold true regardless of topic, scale or size of budget. If film-making can be seen as a process structured by constraints, then top of the list of constraints must be finance, or more precisely the lack of it. It is interesting here to consi