If as expected Culture Minister Ed Vaizey announces tomorrow [he did – see comment below] that the British Film Institute (BFI) will take over most of the UK Film Council’s role in funding film production, will film in Scotland be any better or worse off? Nobody can really know for sure but there are a few pointers from the past which may prove to be relevant.
Whoever houses the new arrangements for investing in development and production (not to mention distribution, exhibition, education and a whole slew of other activities largely overlooked in the furore over the UKFC’s imminent demise) it is likely that many of the same people will, for the time being, be making the decisions. But historically the BFI has had a somewhat different institutional take on film culture and film industry than the UKFC and it will be interesting to see if the Scottish dimension of that, a mixture of general neglect punctuated by occasional enlightened acts of benevolence, is revived.
In general terms the BFI always had a bit of a problem with Scotland – it was to all intents and purposes ‘other’ – our cultural, educational and political administrative systems sufficiently distinct but insufficiently interesting to merit much dedicated officer time or attention. By the same token Scotland’s emerging autonomous film institutions (Films of Scotland followed by the Scottish Film Council, technically a branch of the BFI to begin with, and then Scottish Screen) substantially let the BFI ‘off the hook’ when it came to being held to account for film developments north of the border, even though its title and charter were resolutely British.
But at the same time and to its credit the BFI did play a critical role in fostering the first stirrings of narrative cinema in Scotland by championing the work of Bill Douglas, a film-maker whose filmic aspirations did not fit the mould of the then ‘Films of Scotland’. Douglas stands out as Scotland’s most internationally recognised ‘auteur’ filmmaker (though the other Bill, Bill Forsyth deserves to be included in that category for those who choose to employ it) and, tellingly, practically the only one to be supported by the BFI Production board in its nearly fifty years of nurturing “An alternative British art cinema”. And it did latterly support the singular vision of Margaret Tait, co-funding her first feature Blue Black Permanent in 1992 (at the tender age of 72!) and Lynne Ramsay’s first professional short (Kill The Day, 1997) but on the whole the Production Board had by all accounts a fairly negative view of Scottish talent and Scottish stories.
WHAT ABOUT THE MONEY?
Since the UKFC was established in 2000, and as we’ve noted elsewhere , a fair amount of UK cash has come Scottish cinema’s way, in addition to the sums disbursed by Scottish Screen that is. Given that Scottish film has been able to access both Scottish Screen (now Creative Scotland) and UKFC funds it would be easy to think (and easy for those smarting from the cuts to public arts funding in England to complain) that we Scots have been having our cake and eating it. Well a little inspection of the facts suggests otherwise. Though the calculation of what amounts to a ‘fair’ Scottish share of public expenditure has ever been and will no doubt remain a vexed question there is enough life left in the ‘Barnet formula’ to make it worth a shot.
Taking the financial year 2008-9 as our example, and with the aid of the UKFC Research and Statistical Unit’s extremely useful Annual Statistical Handbook, we find that the total ‘public sector selective investment’ in film comes to around £256m (including Tax Relief, film investment by the BBC and Film 4, EU funds and so on).
Now if we strip out the tax relief, broadcaster and EU funds that drops to direct UK public expenditure of around £116m. The Scottish share of that (totting up Grant-in-Aid from the Scottish Government, the average allocation of Lottery film funding to Scotland of around £2.7m AND the average UKFC investment in Scotland of £1.4m) comes to around £8.4 m i.e. 7%. The Barnett formula for calculating Scotland’s share of any change to UK funding is generally based on 9.77% of the equivalent spending in England and Wales which in this case would come to £11.38m or in other words a gap, in 2009-09, of approximately £3m.
Even with the swinging cuts to many of the areas of expenditure making up the UK total at this point it seem very unlikely (but we will examine it in future posts) that in the coming years Scotland’s share of film-related expenditure will catch up, proportionately, with the rest of the UK. (And even if it did it wouldn’t remove the historical disparity).
Meantime we look forward to seeing how the new custodians of the UKFC’s film investment funds see Scotland’s contribution to British cinema’s future and hope that they adopt a less metro-centric perspective than in the past.