BBC Film is the feature filmmaking branch of the BBC that has helped produce/co-produce films including Billy Elliot, I, Daniel Blake, and more recently Aftersun and Triangle of Sadness.
BBC Film (BBC Films prior to 2020) was founded by David M. Thompson on June 18th 1990 as a BBC owned, but independently run film-making company. Thompson had previously worked for the BBC, starting his career there in 1983 originally as a film programmer and eventually graduating to documentary maker. And by 2007 after a re-structuring from the BBC, the company was re-established as part of the BBCs main department.
The company works with other UK and International film distributors such as the BFI and Wild Bunch with the aims to produce "distinctive British films with range and ambition" whilst finding new and distinctive talent across the country that they can nurture and provide creative opportunities to, as well as collaborating and working with some of films most admired writers and directors which allows them to co-produce around 12 films per year. It is their priority to produce unique films, take progressive risks and ensure the rights to films that may not be picked up in the commercial sector of filmmaking.
Applying Curran and Seaton
Curran and Seaton's theory argued that smaller, 'indie' film companies are seen as the last source of originality in terms of films being produced and distributed in a world full of reboots and franchise cinema. This argument can be applied to BBC Film who Curran and Seaton would argue produce films that are very controversial in their subject matter, relating to many issues faced in their current climate with films such as I, Daniel Blake taking place in Austerity Britain that reveal the harsh realities of many working class individuals who struggled to survive during the crisis. Just like BBC Films ethos, Curran and Seaton would argue these types of social realist films the company widely produces are very risky to make, since many audiences may feel uncomfortable to watch films that address serious and real topics, and that they aren't exactly profitable since it is much more difficult to commercialise of films that are more naturalistic and personal.
Curran and Seaton would also argue as a result of this, the films BBC Film produce struggle to perform successfully in the box office, since audiences are more willing to watch fast-paced blockbusters rather than socially real films. This is why they would argue the films they produce have significantly smaller budgets and niche audiences.
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