Try to be crazy! Wu Wenguang – Founding figure of Chinese Independent Documentary

Last week I had the chance to interview renowned documentary filmmaker and founder of the Caochangdi Workstation in Beijing, Wu Wenguan, while he was in Edinburgh screening work by new filmmakers associated with the Village and Memory projects.  Our hour long conversation ranged over his accidental entry into the world of documentary, losing his way in it and finding a route out through his work with emerging filmmakers – of whom he simply asks “try to be crazy”

We’re smart enough and have the resources to run our own TV

(Originally published on the Guardian Website Tuesday 16th September)

Claire Enders (What would a Scottish yes mean for democracy, 14 September) claims that “Scotland simply isn’t big enough to support strong independent media”.

She suggests the substitution of a Scottish Broadcasting Service for the BBC in Scotland would reduce media plurality. However, since 1957 Scotland has had an independent commercial station, STV, with a vibrant news and current affairs output, which would continue to offer strong competition to any licence-fee/state-funded broadcaster. Not since the 1980s has Channel 4 had any Scottish current affairs or political output, so the level of plurality would remain unchanged.

She suggests Scotland could not secure a free-to-air deal with the BBC. The licence fee (or post-independence equivalent) in Scotland raises £300m; the pro-rata share of network BBC television is £75m, while BBC Scotland costs £86m. Even if the BBC secured £100m for supplying its services to Scotland (considerably more than Ireland currently pays for the same privilege), that would still leave £200m to fund SBS, radio and online services.

After independence the Scottish parliament and whichever government the people of Scotland elect would shape Scotland’s media regulation. Holyrood, elected on a proportional representation basis, and with much greater cross-party pre–legislative scrutiny, is considerably more democratic than Westminster.

The scanner has been working overtime this week digitising some pre-web documentation of Scotland’s film history and this delightful epistle from Bill Forsyth in the 1986 Edinburgh International Film Festival Programme is just one example

Bill Forsyth letter on That Sinking Feeling EIFF Programme 1986

Sunshine on Leith and Filth zoom into all time Scottish top ten

The latest and, as ever, fascinating annual statistical handbook from the BFI allows the elves here at The Producer’s Cut to update the all-time top Scottish films at the UK Box office (NB Adjusted for inflation) with not one but two films making it into the list from 2013.  Not surprisingly perhaps Sunshine on Leith and Filth, having briefly occupied the number 2 and 3 spots at the UK box office in 2013 have quickly joined the all time Scottish top ten at number 4 and 6 respectively.  Trainspotting remains the undisputed top dog with 25% of the total box office garnered by the ten films and indeed all but one of the top five films are from the 1990s.  Inevitably the definition of ‘Scottish’ used here is subjective – both Rob Roy and Last King of Scotland could be ruled out on production origin terms (as could even Mrs Brown for that matter) but allowing for that caveat we can see that there’s no real pattern to the best-selling Scottish movies other than that from thrillers to a musical they managed to strike a chord with the film-going public.

 

UK Box Office £ (adjusted for inflation)
Trainspotting (1996) 12,331,224
The Last King of Scotland (2006) 5,680,951
Shallow Grave (1995) 5,101,342
Sunshine on Leith (2013) 4,600,000
Rob Roy (1995) 4,352,000
Filth (2013) 3,900,000
This Year’s Love (1999) 3,600,636
Mrs Brown (1997) 2,647,037
Magdalene Sisters (2002) 2,138,934
The Angels Share (2012) 1,928,376
Total 46,280,500

Coming to a cinema near you, possibly

After an absurdly long time (ten years to be precise) I’m pleased to reveal that I’ve got a new film premiering at Filmhouse in Edinburgh next month (or two if you count executive producer credits which of course I don’t :) ) Advising the unquestionably Stellar Quines on the transfer of their hit play The List to the big screen gave me the opportunity to shoot a behind the scenes doc on the collaborative process between film director Morag McKinnon, theatre director Muriel Romanes and Maureen Beattie, star of the one woman play by Canadian dramatist Jennifer Tremblay, translated from the French by Shelly Tepperman. The collaboration was supported by an ‘innovation follow on’ award from the Scottish Funding Council which allowed me to advise Stellar Quines on the creative, commercial and practical aspects of turning theatre into cinema and connect them up with the right talent and skills to realise their ambitions. As it turned out the film director of The List is an Edinburgh Napier graduate, as was the film production manager Lili Sandelin, DIT Mihail Ursu and Karel Dolak the online editor of ‘Filming The List’. Former staff member Rob Walker recorded and mixed the sound for The List while current staff member Ross Buchanan mixed ‘Filming…’. So all in all the whole project has been a shining example of collaboration, both between theatre and film and between university and the arts. Tickets for the Filmhouse screening are on sale now and the films will be in Dundee at DCA on Tuesday 5th. Further dates and venues t.b.c.

More creative industries jobs in Scotland than we thought but most sectors declining

The DCMS have just released their nations/regions breakdowns of creative industries employment in the UK and the Scottish picture is, relatively speaking, somewhat disappointing even if the figures show the number of creative industries and creative economy jobs (more on that distinction later) in Scotland to be more than most recent Scottish estimates calculate.

Across the UK creative industries jobs (creative and support) grew 10% between 2011 and 2013, while in Scotland there was a slight drop from 103,000 to 102,000 according to the DCMS count.  In the wider ‘Creative Economy’ (which includes creative jobs in non-creative industries) every sub-sector bar two (Architecture and IT) recorded falls in employment with the total dropping from 166,000 in 2011 to 163,000 in 2013. The sectors recording the highest falls were Advertising and Marketing ( -2000 jobs) Crafts (-2000) and Design (-2000) with the highest riser being IT, software and computing services (+8000).  The presence of the latter in Creative Industries statistics is a continuing issues as many of these jobs are not in fact creative industries related at all and as this sector accounts for one third of the total jobs its increase of 7000 jobs over the two years masks the falls elsewhere.

Whereas every other area in the UK shows an increase in creative industries employment as a proportion of total employment between 2011 and 2013 averaging 0.5% and up to 1.2% in the East of England, only Northern Ireland and Scotland record a drop, albeit a statistically insignificant 0.1%.

Scotland’s 102,000 creative industries jobs (NB jobs in the creative industries only, the creative ‘economy – see below) account for 6.3% Scottish employment total compared to the 8.5% UK average (a total of 1.7m jobs).  However setting aside London (16.2%) and the South East (10.1%) that’s on a par with most of the rest of the UK barring the East of England (8.3%) and the South West (7.6%).

With 163,000 of the 2.6m UK Creative Economy jobs (NB ‘Creative Economy’ counts creative jobs in non-creative Industries) Scotland’s share has fallen more (-0.6%) than anywhere other than the East of England (-0.8%).

That these figures are very different from those used in recent discussion of Scotland’s creative industries comes as no surprise to those of us with an unhealthy interest in comparative methodologies but is a real problem in trying to get to any sort of coherent policy discussion about what needs to be done to support both overall growth and the specific needs of individual sectors.

The first ever film mashup?

Readers with long memories will recall this 2012 post on how Jean Renoir started film crowd funding.  Well the ever fascinating media historian Bert Hogenkamp has uncovered another bit of ‘nothing new under the sun’ in his contribution to the BFI/McMillan ‘The Documentary Film Book‘.  This time it’s an early example of what we would think of as a video ‘mashup’ by renowned activist documentarian Joris Ivens.ivens mashup


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