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Creative England: A Consultation on Strategic Priorities for Film for 2011/12
February 2011
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
Contents
1. Chairman‟s Introduction
2. Executive Summary 4. Creative England – Background 5. Creative England‟s Film Strategy – Proposed Strategic Priorities 2011/12 13. Your Views 14. Annex One – Further Information
Page 1 of 18
1. CHAIRMAN’S INTRODUCTION
1.1 Creative England‟s purpose is to support the sustainable
growth of independent creative businesses, and support the
talent that feeds them, in every part of England outside
London. It is built on the work of the Regional Screen
Agencies who, for the last ten years, have assisted the
development of the film industry, and the growth of film
culture in England. As changing audience behaviour,
technologies and business practice drove the convergence of film, television,
games and other digital media, the Regional Screen Agencies extended their remit
to include a broader range of creative businesses. Creative England takes that
process further by focusing on the needs common to nearly all independent creative
businesses;- finding and retaining talent; developing skills; business development;
access to finance; and access to national and international markets.
1.2 As a body in receipt of public funds Creative England will give practical support to
government policies for growth, recognising the need to build on England‟s well-
established centres of creative excellence while retaining sufficiently broad-ranging
networks to reach out to new talent wherever it is located in the country, and to help
industry reach out to new audiences and new markets. By reducing the duplication
of resources and functions that was inevitable with eight separate Screen Agencies,
Creative England will be able to provide a more cost-effective service to the sectors
it serves, bring specialist skills and resources to bear where they can most make a
difference and by building partnerships that combine the creative energy of local
initiatives with the scale and reach of national strength.
1.3 This document sets out the new organisational arrangements for Creative England
and our plans to deliver support for film in 2011/2012 working in partnership with the
BFI as the Government‟s lead strategic body for film. It is limited to film because it
describes how we intend to use that portion of Government and Lottery funding
made available specifically for film. And it is limited to 2011/12 because the
government proposes a major review of film policy during the course of this year.
1.4 Creative England will be based in three “Hubs” which will operate from Birmingham,
Bristol and Manchester but its activities will cover all the English Regions. These
hubs will be constituted as companies limited by guarantee and will jointly own
Creative England, also a company limited by guarantee. This document does not
go into detail about the structure of Creative England, however, further information
can be found in Annex One.
John Newbigin, Chairman, Creative England
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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2. EXECUTIVE SUMMARY
2.1 Creative England, which will formally commence operations in October 2011,
replaces the previous network of Regional Screen Agencies (RSAs) which
operated across England. The organisation will be based in three “Hubs” which
will operate from Birmingham, Bristol and Manchester but its activities will cover
all the English Regions.
2.2 Creative England is now consulting on its priorities for film for 2011/12 only.
During this period, the organisation will participate in the review of film policy
which is to be led by the Government. The outcomes of that review will
determine Creative England‟s strategy for film from April 1, 2012 onwards.
2.3 DCMS have confirmed that for the year 2011/12, Creative England will have an
initial budget of circa £2.5m Grant in Aid and circa £2m Lottery funding for film
from the BFI. Creative England will use this core support to leverage additional
funds from other public and private sources.
2.4 Creative England has identified three strategic priorities for its film activities in
2011/12, which build on the work of the RSAs. These are:
2.4.1 Developing creative talent - A strategy across England to develop new
creative talent and distinctive voices, in conjunction with the BFI, Skillset,
Film London and industry partners.
2.4.2 Nurturing film culture - A network of cultural programmes delivered at a
local level across England, in partnership with the BFI, Arts Council
England and other partners, which supports innovative approaches to the
exhibition and distribution of film, increases choice and grows audiences.
This will include a focus on film heritage, film festivals and increased
access to and exploitation of, film archive material.
2.4.3 Helping to maximise inward investment - A joined up approach to
attracting film production and the provision of a nationwide service to
support production in partnership with Film London (which will have an
expanded remit taking over the Office Of the British Film Commissioner)
and UK Trade and Investment (UKTI).
2.5 In addition:
Partnership, with a wide range of organisations and companies from
across the public and private sectors will be integral to Creative
England‟s work. Similarly, Creative England will be committed to
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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ensuring diversity and reach across all its programmes.
Creative England will focus on stimulating innovation across its
priorities, responding to the opportunities presented by the digital age.
Effective and efficient delivery of the priorities will be key, thereby
ensuring that overheads are minimised and maximising the value of
Creative England‟s activities to the benefit of audiences and the film
sector across all the English Regions.
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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3. CREATIVE ENGLAND – BACKGROUND1
3.1 Rationale
3.1.1 The Coalition Government has made a clear commitment to support the
UK‟s film and wider creative industries as a sector which contributes
significantly both culturally and commercially to the UK's wealth and
sense of well-being. Alongside this, the Coalition is committed to cutting
public sector spending, duplication and waste.
3.1.2 The Government has made plain that it believes that the film sector has
clear market failures, and delivers significant cultural value, which means
that the case for public intervention is strong and enduring. As such,
Exchequer funding, for the film tax reliefs and other film activities, and
Lottery support, will remain at the heart of the Government‟s commitment
to film.
3.1.3 Following the announcement in July 2010 of the proposed abolition of the
UK Film Council, the DCMS made clear their strong and continuing
support for the functions performed by the Regional Screen Agencies
(RSAs). Ed Vaizey, Minister for Culture, Communications and Creative
Industries said that the Government wanted to “build on the success of
the Regional Screen Agencies” and that the establishment of Creative
England “offers the possibility of more focused support for a wider range
of businesses;- helping small companies grow, helping new talent
establish itself and mobilising public and private investment to grow
England‟s creative industries” and noted that the BFI would establish a
strategic partnership with Creative England. 2
3.1.4 However, the Government was clear that the model of nine separate
organisations was unlikely to be viable in an environment in which there
is severe pressure on the public purse, and urged the RSAs to develop a
more feasible proposition. Creative England will, when it launches in
October 2011, replace the current network of RSAs in the English regions
beyond London.3
3.1.5 In looking at how best to establish a new model, it became evident that
the previous RSA model, whilst effectively connecting at the local level,
1 For more information on the functions and operation of Creative England see Annex One.
2 http://www.culture.gov.uk/news/ministers_speeches/7602.aspx
3 Film London will formally sit outside Creative England, although it will receive an allocation of Grant-In-Aid
from the BFI. Some other RSAs are likely to continue to exist under their current trading names but the network of nine agencies, previously funded by the UK Film Council, is being replaced by Creative England which will receive its money from the BFI. Screen England, an informal grouping of the RSAs, will also disappear.
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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too often failed to co-ordinate on the national level – sometimes resulting
in duplication or unnecessary competition.
3.1.6 The RSAs did not just provide funding – they developed clear strategies
for the growth of film and the broader creative industries across England,
and provided a source of expertise, advice and support for businesses
and individual practitioners. Creative England will build on this work and
deliver a focused, consistent, efficient and effective support service
across the country at reduced cost. Like the RSAs, it will focus on talent
development, business development, access to finance and access to
markets as part of a cohesive strategy to help to grow the creative
industries in the UK.
3.1.7 The Creative England hubs will be responsive to both local and regional
needs, while also taking account of the broader ambitions for the creative
industries across the Nations of the UK. It will be built around three
centres of excellence (hubs) which are able to reach out to businesses
and talent right across the geographic areas they cover. The
development of strong and enduring relationships with Local Enterprise
Partnerships, central Government departments (such as BIS and CLG),
the BFI, Skillset, the British Federation of Film Societies, parallel
agencies in the Nations and many others will be key to the success of
Creative England.
3.1.8 Although this document focuses specifically on film, the broader ambition
is to grow Creative England beyond the film agenda by developing an
over-arching strategy for the development of the creative industries
throughout the English regions.
3.2 Creative England’s Film Strategy – Proposed Strategic Priorities 2011/12
3.2.1 In its first year, Creative England‟s film strategy will focus on three core
priorities for film. These three core priorities have been identified because
they address clear areas of market failure, they build on the existing work
and achievements of the RSAs and they are consistent with the broad
areas which the Government has committed to support at a UK-wide level
through the BFI as the new lead strategic body.
3.2.2 It is recognised, of course, that the three identified priorities for the first
year may need to change in subsequent years, depending on the
outcome of the consultation on film policy to be led by the Government
and the BFI later in 2011.
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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3.2.3 The three strategic priorities are developing creative talent, nurturing film
culture and helping to maximise inward investment. The aims and
objectives which underpin each priority are set out below.
3.2.4 In the current, rapidly changing media landscape there is a clear need for
the UK film sector to respond to the opportunities and challenges
presented by digitisation. Within all three strategic priorities therefore,
Creative England will focus on innovation as a cross-cutting theme.
3.2.5 From digital distribution to the digitisation of archive it is essential that
those working across the film sector continue to innovate if they are to
remain competitive in the British, European and global marketplaces.
3.2.6 By focusing on these three strategic priorities, Creative England is
seeking to help maximise the economic impact of the film sector in
England and to help ensure that audiences throughout England have
access to the widest possible range of films.
3.3 Developing creative talent
3.3.1 Aim: To help foster outstanding creative talent for film throughout the
English regions.
3.3.2 Objectives:
● Create a clear ladder of progression for strong creative talent which
reflects the diversity of England.
● Invest in films which provide opportunities for new creative talent to
develop their voices and showcase their skills to a range of
audiences.
● Nurture “cross over” opportunities between film and other parts of
the creative industries (television, games, design etc ) to support the
development of talent and to encourage new creative and
entrepreneurial approaches to filmmaking.
3.3.3 Training and skills development for individuals and companies working in
the creative industries is essential, not an optional extra. In particular,
rapidly changing technologies / new content devices and new platforms
are leading to cheaper, faster methods of production, distribution and
changing business models. Shifting revenues and the emergence of new
converged sectors are increasing the need for new converged skills.
Technical talent alone is no longer enough to bring a product or service to
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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market. Distribution, design, specialist domain knowledge and an
understanding of customer/audience needs are all required.
3.3.4 The RSAs have played a significant role in helping to develop talent
across the English Regions in the last decade. Directors such as Andrea
Arnold and Shane Meadows and producers such as Mark Herbert and
Rachel Robey, have all benefitted from the specific, targeted support
provided by the RSAs. 4
3.3.5 Skillset, the Sector Skills Council for Creative Media, is the industry-led
body responsible for leading the national strategic approach to supporting
skills and training for people and businesses throughout the UK‟s creative
industries.
3.3.6 Creative England will work in partnership with Skillset to deliver on the
national film skills strategy and, along with other partners (e.g. Public
service broadcasters, Film London, Creative Scotland, Film Agency for
Wales etc), a fully integrated UK-wide national talent development
programme, which incorporates the following key elements:
● A genuinely integrated, nationwide approach to talent development
that provides equality of opportunity across all regions.
● Opportunities tailored to individual need.
● A clear map of entry and progression routes, which identifies the
different gatekeepers and their roles.
● Training and production opportunities which are co-ordinated with
opportunities in the production sector.
● Individuals provided with support and a protected environment to
test their skills; failure is accepted as part of a learning curve.
3.3.7 Building on the successful track record of the RSAs, Creative England will
identify and nurture the best creative talent in England to ensure ideas
are developed into films which have a clearly identifiable audience.
Creative England will also play a critical role in the financing of films,
building on the proven track record of the RSAs in developing talent, and
their successful history of generating commercial returns from the
investment of public funds.
4 See detailed case studies in Annex 7 of
http://www.ukfilmcouncil.org.uk/media/pdf/r/5/Talent_Development_Review-FINAL-24May10.pdf
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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3.4 Nurturing film culture
3.4.1 Aim: To champion and help nurture film culture in all its variety to the
benefit of audiences across the English Regions.
3.4.2 Objectives:
● In partnership with the BFI to broaden audiences throughout
England for film and the moving image, in particular by working with
local communities and other partners to ensure the vibrant film
festival culture across the Regions is maintained and strengthened.
● In partnership with the BFI and the Screen Heritage UK (SHUK)
initiative to increase the accessibility of archive content for the
public, and to ensure that cost-efficient ways are developed to
preserve, digitise and make publicly accessible our rich moving
image heritage throughout the English Regions.
● To work in partnership with the Cinema Exhibitors Association‟ UK
Digital Funding Partnership (UKDFP), the Cross Art-form Venues
(CAVs) and independent cinemas across the country to help to
ensure that the country's independent film exhibition sector
(including key cultural venues) is able to maximise the potential
benefits of digital delivery.
3.4.3 Creative England will continue to support the Rural Cinema pilot schemes
in Yorkshire, Shropshire and Wiltshire and the Test Valley. It will use
experience gained from these pilots to help develop a strategy for
broadening access to film across other areas of England. A dedicated
Lottery strand will be launched to support audience development
initiatives, in particular by encouraging people to take risks whether this is
in viewing unfamiliar work or producing new content. In doing this,
Creative England will work closely with the Cross-Artform Venues
(CAVs), to maximise the effectiveness and efficiency of public funding.
3.4.4 The independent sector faces the significant challenge of converting from
35mm to digital over next 2-3 years, since many cinemas do not have
immediate access to the financial resources to support this transition.
Creative England will work with the Cinema Exhibitors Association‟ UK
Digital Funding Partnership (UKDFP) to help address this challenge. It
will also work with the CAVs to help develop a sustainable infrastructure
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for cultural exhibition and distribution, including film festivals, across
England.5
3.4.5 Digital technology provides the cultural sector with opportunities to
develop innovative, new business models and reach new audiences.
Creative England will provide targeted investment and dedicated
business advice along with access to most creative and academic
thinking to help stimulate innovation.
3.4.6 Local film societies, film festivals, and community events are all vital
mechanisms for engaging new audiences; Creative England will seek to
support established and new ways in which the public are able to see a
broader range of moving image material.
3.4.7 Through this joined-up approach, Creative England will ensure Lottery
investment has even greater impact for local communities and national
partners across the Regions.
3.4.8 Across these activities, Creative England will work closely with the
Lottery-supported distribution and exhibition fund at the BFI to ensure that
its strategy aligns with UK-wide priorities.
3.4.9 Throughout England there is a rich tapestry of film festival activity. The
majority of these festivals are locally-focused and an opportunity for
audiences to watch films they wouldn‟t ordinarily be able to access. In
contrast, some film festivals are internationally significant – such as the
Sheffield DocFest and Wildscreen - and attract thousands of delegates
from across the globe and at which key commissioning and financing
deals are struck. Creative England will work closely with the BFI during
the forthcoming review of film policy to produce a rationale and
investment strategy for film festivals to ensure that a balance is struck
between supporting festivals that promote access and offer new exciting
cultural experiences and those which play a strategic industrial role and
have an established cultural pedigree.
3.4.10 There is very significant interest among audiences and users in
accessing the UK‟s film heritage. However, this sector is significantly
under-capitalised and lacks sustainable business models. Coupled with
the overall reduction in available public funds, there is an immediate need
to develop a more cost efficient/aggregated out of London network of
Regional Film Archives (RFAs) and to continue the work of the Screen
5 See study by Tom Fleming on the opportunities around the CAVs at
http://www.ukfilmcouncil.org.uk/media/pdf/q/6/Final_final_report_20_May_version.pdf
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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Heritage UK strategy which has sought to improve the infrastructure for
film archives. Creative England will seek to explore new ways of
increasing public access to film archive content, developing new revenue
streams and new commercial opportunities.
3.4.11 Creative England will work in partnership with the BFI and other key
archive bodies to deliver Lottery investment and support for the archive
collections in the English regions. Its priorities in this area will align with
the Screen Heritage UK Strategy (SHUK) which will continue throughout
2011/12. Screen Yorkshire will retain the lead role for the delivery of this
strategy.
3.5 Helping to maximise inward investment
3.5.1 Aim: To maximise film production throughout England supported by a
first class production infrastructure optimising investment and developing
the talent base.
3.5.2 Objectives:
In partnership with Film London and the BFI, deliver a single
strategy for the national and international promotion of England as a
film location, thus providing a clear and comprehensive offer
throughout the country.
Provide a comprehensive production liaison and locations service,
managed by each Hub, aimed at production and companies in the
UK and overseas, and thereby ensuring England remains an
attractive and cost effective place to film.
Manage relationships to ensure that local commitments to film-
friendly partnerships are delivered effectively and provide value for
money.
3.5.3 The existing RSA network annually services, free of charge, over 5,000
individual enquiries for support in finding locations and crews for
production throughout England. Approximately 90% of these projects are
domestic film and TV productions, a total market estimated to be worth in
excess of £11bn per year. Inward investment feature film production was
worth an additional £1.6billion in 2010. Primetime dramas and
entertainment formats including, Spooks, Shameless and Midsummer
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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Murders (all shot outside London) earned the UK economy, £1.3bn in
export sales in 2009.6
3.5.4 Over the last 10 years the regional RSAs have supported over a
thousand feature films shoot all across the country, ranging from
domestic features, such as Fish Tank, This is England, and The King’s
Speech to Hollywood studio productions such as Captain America and
Pirates of the Caribbean 4.
3.5.5 The provision of a one-stop-shop production liaison service across the
country, which includes assistance finding locations and securing
permissions to film, a brokering service between the production
companies and local authorities/public agencies and a regional crew and
facilities service, provides a crucial and cost effective offer for film
production. It is also an established and integral part of the domestic
production support for television, commercials and other productions.
3.5.6 Production budgets are falling year-on-year (Ofcom reported that the
medium-term trend between 2005 and 2009 showed that spend on first-
run, UK-originated PSB programmes has fallen by 16% from £2.8bn to
£2.3bn) and a first class, cost effective and coordinated countrywide
service is an increasingly valuable asset to the industry.7
3.5.7 Working in partnership with Film London, Creative England will bring
together the services currently offered by the individual RSAs. It will
provide a coordinated and streamlined service which will ensure that the
delivery of support, knowledge and expertise to productions shooting in
England, outside London, continues seamlessly. Creative England‟s
Inward Investment and Production Liaison departments will provide a
unified national offer, whilst allowing each region to capitalise on its own
assets.
3.5.8 The three Hubs‟ activities will be streamlined to operate in complete
collaboration. All activities and structures will deliver the best possible
value for money, will strive to avoid duplication and will always work to
ensure effective delivery for the benefit of the production industry.
3.5.9 Creative England‟s service will provide significant costs savings to
productions, from free scouting services to negotiating reduced costs for
regional services - allowing more of the budget to go on screen. This will
help ensure that, where possible, costs to productions remain low and
6 International Communications Market Report 2010, OFCOM, December, 2010
7 Public Service Broadcasting Annual Report 2010, OFCOM
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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productions can shoot with ease wherever they film in England. In
addition facilitating film and TV productions to shoot all across England
means the rich cultural landscapes and diverse identities of every region
are represented on the large and small screen, with significant resulting
benefits for tourism.
3.5.10 In addition, we will:
Develop a marketing strategy to promote the work of Creative
England‟s Inward Investment and Production Liaison departments to
publicise its achievements and outputs to national partners. – To
raise awareness of the national film and TV industry and its
impact on the national economy and workforce.
Implement an online „shop-window‟, as part of Creative England‟s
website, to promote England‟s locations around the world and to
provide information and contact details for local offices. - To
improve access and understanding of the services and
locations offered to national and international production.
Implement a standardised and robust model for tracking productions
and recording the value of filming for reporting purposes and
benchmarking. – To show the impact on GVA and jobs created
from production across England.
Merge crew databases across each pan-region, as has been
successfully proven by the Northern Exposure initiative in the north
of England. To improve the service to productions and support
the development of the national supply chain.
Explore options, where possible, to take the functions of previously
established local authority run film offices into the relevant Hub to
ensure parity of delivery; or to establish a formal working agreement
to provide a collaborative approach. – To improve and unify the
service offered across the whole of England.
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Your views
We would like to hear your views on our proposed strategic priorities for film for 2011/2012. Please tell us
● Do you agree that the strategic priorities are the right ones?
● What comments do you have on the aims and objectives attached to each
priority?
● How can Creative England best build upon the work of the Regional Screen
Agencies in supporting these priorities?
● What are the key challenges, in addition to funding?
● How can Creative England best ensure that these priorities are delivered in a
way that meets the needs of all the English Regions?
Please feel free to respond to all or some of these questions. It would help us if you would give us as full a response to our questions as possible.
How to respond Creative England: A Consultation on Strategic Priorities for Film for 2011/12 is available online on the Creative England website at http://www.creativeengland.co.uk. The consultation questionnaire can be completed online at: http://www.surveymonkey.com/s/creativeenglandfilmconsultation. Please give your full name, position (if relevant) and organisation (if any) in your response. We would be grateful if you could preface your views with a short statement about your organisation (if you represent one) and how it relates to our role and activities. Please indicate clearly if you wish your response to remain confidential. Please send us your response by Thursday 31 March 2011. A number of consultation forums will also take place over the consultation period. Thank you for your time.
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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Annex One: Further Information
1. Why does there need to be a new structure?
The network of regional screen agencies was established by the UK Film Council in
2002 to deliver film culture and nurture talent across the country. Since then, the
independent screen agencies have grown and diversified to work across the full range
of creative media industries, in many cases attracting significant funding from other
sources for a range of projects. Their activity has supported both the „screen-related‟
sector of film and television, as well as the wider creative industries such as games,
digital, new media, design and fashion.
Following the announcement of the abolition of the UK Film Council in July 2010, the
Government confirmed continued support for the film and media industry outside of
London. The agencies have since been working with DCMS to decide on the best
structure of this support, in order to secure a strong future for the UK‟s creative
industries.
With public expenditure severely constrained, it was recognised that the existing
network of screen agencies should be re-configured to provide a new national delivery
arm to build creative companies and talent.
On 29 November 2010, the Minister for Culture, Communications and Creative
Industries Ed Vaizey announced that the BFI will become the lead strategic body on film
and the distributor of Lottery funds to UK film makers from April 2011. The BFI will also
take over responsibility for the work in support of tax credit certification of UK films;
overseeing the strategy and public funding to support film in the nations and the regions
and audience development and education. It was confirmed that the share for film of
Lottery funds will increase from around £27 million to around £43 million annually by
2014. It was also confirmed that Film London will manage the UK‟s national inward
investment function for film.
The Minister also announced that the English Regional Screen Agencies outside
London will transform their network into Creative England, “a simpler, more efficient
structure with an expanded remit to support the creative industries across England.”
Creative England will ensure an England-wide delivery network for film, whilst laying the
foundations for a longer-term solution, connecting creative and digital SMEs with
national and international markets, public and private funding.
2. What is the proposed structure of Creative England?
We propose that Creative England should be a new nationwide network based on three
key hubs; Creative North, Creative Central and Creative South. These three hubs will
work with local business networks and sector organisations, to deliver cultural and
business-development objectives.
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3. What will Creative England do?
Creative England will build on the screen agencies‟ well-established expertise linking
together the economic, educational and social benefits of digital inclusion and cultural
engagement in creative media, whilst also reducing expenditure and overheads,
resulting in the streamlining of public funds into the creative sector.
Creative England will support the content industries of Film, Television, Games, and
Digital and Creative Services.
Working with the BFI, the new flagship body for the delivery of film policy, and Film
London, which has been given the national remit to manage the UK‟s inward investment
strategy, Creative England will continue to deliver the out of London film provision that
the RSAs have historically put in place, including a nationwide talent development
network, locations services, and exhibition support, film festivals and audience
development.
In addition, Creative England will aim to:
● Provide responsive solutions to challenges faced by creative businesses
● Link together supply chains and broker business relationships, connecting
companies to new markets;
● Provide specialist advice and support to build the capacity of creative
businesses, helping them grow and adapt to changing market conditions;
● Facilitate access to finance and progress development of new financial models;
● Work with universities and research bodies to link high level research
developments with practical implementation by businesses;
● Deliver practically-based skills development for individuals and companies;
● Deliver services to, and liaise with, Local Enterprise Partnerships;
● Connect with local partners such as open learning centres and community
organisations to pioneer digital education and inclusion.
Creative England will also work with other lead bodies in the creative industries, such as
the Arts Council of England, Skillset, the Design Council, NESTA and the Technology
Strategy Board.
A key objective of Creative England will also be to work with businesses and sector
organisations to stimulate and encourage private investment into the creative industries.
Many of the screen agencies are already delivering strategies that are hinged upon this
with the aim to make the sector more competitive, better resourced and more
sustainable.
4. How will Creative England be funded?
DCMS has confirmed that Exchequer and Lottery funding will be available to film in the
regions. We are now in discussion with the BFI, the new flagship body for the delivery of
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
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film policy, to finalise a funding agreement. We are also discussing with Government
about how we can leverage financial support for the wider content industries from a
number of sources, for example local business and government (LEPs), delivering
national Government programmes, private sector/industry finance and European
money.
5. What will happen next?
The screen agencies will work together to recalibrate into the three hubs of Creative
North, Creative Central and Creative South. We are now consulting on proposed
strategic priorities for film activity for 2011/12 via an online public consultation where we
are inviting views from the film industry across the UK. Feedback will then be taken
forward to shape the first phase of the Creative England business plan. Phase two of
the business planning process will take place in the early part of the new financial year,
as discussions with Government about additional finance to support the wider content
industries evolve.
We will publish our long term business plan by September 2011, which will outline
Creative England‟s aims, objectives and delivery strategy. 2011 will be a year of
transition for the screen agencies as they develop into the new structure, but we will
keep the industry informed of key developments as they happen.
6. Where will the three hubs be?
We propose that the three hubs be located in the three cities outside of London, which
form the strongest centres for the creative media industries in the northern, central and
southern regions; Manchester, Birmingham and Bristol.
Why Manchester?
Manchester is the economic centre of the North West, and Europe‟s second largest
media hub after London. The creative, digital & new media sector in Greater
Manchester employs 61,000 and is worth £2.6 billion8.
With MediaCityUK taking shape and the BBC move bringing 5 major departments and
flagship shows such as BBC Breakfast to Salford Quays; Granada and production
companies such as Company Pictures (Shameless), Shed (Waterloo Road) Red, RSJ,
Libra, Nine Lives, its broadcast heritage is unquestionable. Manchester has an
internationally renowned digital and creative agency landscape, (from Mcann
Manchester to LOVE and digital shops such as Code Computerlove); key music
festivals such as In The City and arts/media centre Cornerhouse. Manchester sits
centrally between Liverpool and Leeds; both have strong creative industries clusters
and interlocking supply chain and talent/workforce base across the M62 corridor.
8 Greater Manchester Forecaster, Oxford Economics, 2009
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Why Birmingham?
Birmingham is a hotbed for creative talent and accounts for two thirds of all media
activity within the West Midlands, with the BBC, ITV and Channel 4 all operating within
the city9. It also has the second largest number of creative industry job roles of the eight
English Core Cities and is a home to a fifth of all creative employment in the core
cities10. The Creative Industries turnover within the West Midlands stood at £7bn in
2007, a 36% increase from 2004.11 The level of growth in the region‟s creative
industries is significantly higher than the national rate of growth (by +13%).12 In addition
to this the West Midlands accounts for 18% of the national total workforce in the games
sector.13
Why Bristol?
Bristol is the largest city in the South West, a region highlighted as a Creative Industries
National Exemplar in the Government‟s 2008 „Creative Britain‟ strategy. The creative
industries in Bristol employ around 11,500 people, accounting for more than 12% of all
employees in the city14, and generating £727m, or 6% of the city‟s GVA15. Bristol‟s
2,190 creative businesses16 include the TV and film production companies, Tigress
Productions, Icon Films and Testimony Films, as well as the digital media firms Sift, E3
and Rockpool Digital. The city is also home to the multiple Oscar®-winning Aardman
Animations and the BBC's world-renowned Natural History Unit. Bristol boasts particular
strength in creativity radio & TV, film & video, music, publishing, computer games and
software, and has recently been named by NESTA as one of the UK‟s top ten creative
hotspots17.
Bristol also boasts a strength in creative sectors unmatched by most other European
regional cities - design and architecture, books and publishing, visual arts, theatre and
performing arts, including a profusion of festivals and carnivals throughout the year,
comedy clubs, street theatre and Europe's leading circus school. Creative quarters such
as the Watershed Media Centre, Jamaica Street Studios, Knowle West Media Centre,
Mivart Studios, Paintworks, Pervasive Media Studio, Spike Island and the Tobacco
Factory are examples of Bristol's vibrant creative community, contributing to its
accolade of 'Second Media City' in recent years.
9 „Birmingham - Creative City : Analysis of Creative Industries in the City of Birmingham‟, Birmingham City
Council,2002 10
„Why the Creative Industries Matter to Birmingham‟, BOP Consulting, 2010 11
„Culture & Prosperity : The Economic Role of Culture in the West Midlands‟, Culture West Midlands, 2009 12
„Culture & Prosperity : The Economic Role of Culture in the West Midlands‟, Culture West Midlands, 2009 13
Skillset Census, 2006 14
DCMS analysis of the Creative Industries, 1995-2008 15
Bristol Sector Summaries, Bristol City Council, April 2010 16
DCMS analysis of the Creative Industries, 1995-2008 17
„Creative Clusters and Innovation‟, NESTA, November 2010
Creative England: A Consultation on Strategic Priorities for Film for 2011/12
Page 18 of 19
There are 39,400 employed in South West core creative industries, working in 9,000
businesses. Looking at 2005-2007 trends, research shows South West creative
businesses increased by 10.2%, compared to an England average of 7.7%.18
7. How will the new model operate across the regions?
The new network will work on a „hub and spoke‟ model. Each hub will work with
networks of locally-based businesses and sector organisations to deliver film culture,
talent development and business growth. By working with these networks, the hubs will
be able to reach out to businesses in their part of the country.
Creative England will reach and support more companies across the wider creative
industries, addressing the convergence that has already led to these companies
working more closely together.
8. What about locations support and inward investment?
In light of the closure of the UK Film Council, the DCMS has confirmed that Film London
will be given the responsibility of leading the UK wide inward investment strategy and
promoting the UK as the best place to invest in film. This builds on its existing filming
locations service and work to support exports of British films internationally. Film
London will employ the knowledge and expertise of an advisory board, which will be
drawn from industry partners, representatives from Creative England and the nations,
and relevant stakeholders. Film London will develop a strategic partnership with the BFI
and work closely with Creative England to form strong links providing film-makers with
access to the riches and talent on offer throughout the entire country.
9. Why does there need to be support for film and the creative industries outside of
London?
The creative industries are hugely important to our economy. They are one of the
fastest growing sectors in the UK, and will play a hugely important role in economic
recovery. These vital, knowledge-based businesses help drive our country forwards,
contributing £60 billion – or 6.2% – to the economy every year.19
We need to keep investing in our core content industries to ensure we compete at the
highest level internationally, that we keep generating the best creative output and that
we don‟t get left behind in the digital future. We need to support new talent, whether
from individuals or companies, and whether from the film or television industry, games
development, or digital and creative services.
From 2006-9, the RSAs supported over 13,500 SMEs and safeguarded 2,749 jobs -
these activities included business advice, capacity development and investment, R&D
18
„The State of the South West„, South West Observatory, 2010 19
DCMS Creative Industries Economic Estimates, Feb 2010
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Page 19 of 19
innovation, skills and training.20 It is this kind of entrepreneurial activity that has
become a hallmark of the RSAs and Creative England will build on this to create a
structure that further champions the digital and creative industries.
10. Is Creative England going to be the same structure as before under a new name?
No, Creative England will not be a new „quango‟. It will be a joint venture company of
existing agencies with no extra costs or staffing. Through its constituent parts of private
limited companies Creative North, Central and South, we anticipate that it will work with
existing networks and growth hubs to join up delivery and reduce duplication;
connecting businesses to, for example, international markets, innovation opportunities
and match-making; supporting them to grow and develop. With limited public resources,
this new model will build on the best elements of the RSA network and deliver targeted
intervention to create genuine growth and support.
11. What happens in the meantime?
2011 will be a year of transition as the Regional Screen Agencies reform into Creative
England. In the meantime, it will be 'business as usual' for the agencies, so if you have
queries about regional funding, production, locations, skills, training, audience
development or exhibition, please contact your local agency. You can view the full list at
http://www.creativeengland.co.uk/contact.
Keep informed
To join the Creative England mailing list and receive the latest news and developments,
please register at http://www.creativeengland.co.uk/content/sign-updates.
For more information
If you have a question about Creative England, please email
20
„Combined performance and achievements of the Regional Screen Agencies‟, Olsberg SPI 2009