Film Culture funds guidelines 2012 2013

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					                                             CREATIVE ENGLAND
                                         FILM CULTURE LOTTERY FUND
                                      APPLICATION GUIDELINES 2012/2013
INTRODUCTION
Creative England was set up in October 2011 as the strategic development agency for film in the English regions (outside
London). It distributes Lottery funds for the development of film culture and talent development with delegated funds
from the BFI.

Please read these guidelines carefully before submitting your application form. These guidelines apply only to the Film
Culture Lottery Fund which supports activity taking place in the English regions outside London.

For the purposes of this Fund, Film Culture is understood to include film exhibition (cinemas, festivals or non-theatrical
exhibition), regional screen heritage (film archive) and film education (where this is linked to a cinema or archive).

FILM CULTURE LOTTERY FUND AIMS AND OBJECTIVES
The aims and objectives of the Film Culture Lottery Fund are to ensure audiences throughout the English regions have
access to a wide and diverse range of film content, to deepen and enrich audiences’ experience and to integrate the
unique resources of regional screen heritage into wider film provision. The Film Culture Lottery Fund will support and
extend the provision and interpretation of specialised and mainstream film in England by investing in:

     audience development within the film exhibition sector - covering all aspects of film culture: cinemas, festivals
      and non-theatrical exhibition, and film education where this is linked to exhibition infrastructure.
     access to regional screen heritage – audience focused projects using film archive in innovative and dynamic ways

All Lottery awards seek to deliver the overarching objectives of increasing diversity of content and audiences, building
sustainability of project partners and aligning activity with relevant local, regional and national policies. (For a definition
of “specialised film” please see appendix A.)

FUNDING STRANDS
This round of Film Culture Lottery Funding has 2 strands:

1.    Audience Development
2.    Organisational Development

Please read the relevant guidelines carefully before submitting your application form. Criteria, timescales and match
funding requirements are specific to the two strands on offer. Eligible applicants are permitted to apply to both strands
simultaneously. However, as funding is limited, we would encourage applicants to focus on a single strand. If applying
to both strands you will need to offer strong evidence of need, opportunity and capacity to deliver, and complete a
separate application form for each bid. Each will be assessed against the specific criteria but they will be cross
referenced during the assessment process.

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There is a high demand for our support and this Fund is likely to be heavily oversubscribed. We will assess your
application against the key criteria set out below. However, applications meeting the criteria will not necessarily be
funded or funded in full.

Who can apply?

We can accept applications from:
1.   legally constituted organisations operating in the English regions (outside London)
2.   the Audience Development strand is also open to legally constituted organisations operating outside the English
     regions that wish to develop or deliver activity in the English regions (outside London)
3.   the Organisational Development strand is only open to legally constituted organisations based in and delivering
     work in the English regions (outside London).

Creative England cannot support applications through this Fund which:
     fall outside the scope of the Film Culture Lottery Fund
     are film-making projects
     are predominantly a showcase for locally made films - amateur or professional - with no audience development
      objectives
     support student work
     include support for significant capital expenditure. Please discuss with Creative England if your project contains
      capital expenditure. As a general rule we can consider capital costs of up to 10% of the request to Creative
      England where those costs are an integral part of the project.
     are already covered by existing agreements with other funding bodies as part of ongoing programmes of delivery
     include on-going core running costs of organisations, equipment and buildings not associated with the application
      being submitted to Creative England (please discuss with Creative England if it is not clear how much specific
      project core cost you can include)
     have already started
     are submitted by individuals.

Students, staff and Board members of Creative England, BFI and the Lottery panel and those related to the staff, Board
and panel are not eligible to apply. If applicants have any close personal or professional relationship with any Creative
England or BFI staff or Board member this must be noted in the application form.

How much can I apply for?
    The amount available for Film Culture in this round is £700,000
    For the Audience Development strand the minimum level of application is £2,000
    For the Organisational Development strand the minimum level of application is £5,000
    For both strands the maximum individual award will be £40,000. In exceptional circumstances Creative England
     may make awards over £40,000 subject to Creative England and BFI approval. Joint bids to the Organisational
     Development Strand involving multiple partners could be one potential example

Context:
As part of the re-focusing of roles agreed between Creative England and BFI the Film Culture elements of Creative
England’s role - including audience development, film festival support and archive development - will from 1 April 2013
transfer to the BFI. Applicants should be aware of the BFI’s UK Audience Network plans (see
http://www.bfi.org.uk/about-bfi/policy-strategy/film-forever), and where appropriate demonstrate how their project
fits or aligns with Network activity developed from 2012 onwards. Criteria under both strands will include fit with
relevant strategies, of which the UK Audience Network will be highly significant.

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STRAND 1: AUDIENCE DEVELOPMENT

WHAT ARE WE LOOKING FOR?
The Audience Development strand is primarily aimed at cinemas, film archives, film festivals and the non-theatrical
exhibition sector. Creative England will invest in projects addressing one or more of the following:

1.    Programming
      Projects should demonstrate:

     extended choice through relevant film programming engaging existing and new audiences
     a broad knowledge of film culture
     a commitment to increasing and diversifying audiences for film
     an awareness of the role of programming within audience development
     expertise in using film to meet both cultural and financial objectives
     clear additionality to core work
     competencies in marketing, technical delivery, event management
     clear legacy at project close
     the impact and value of Creative England funding interventions.

2.    Reaching under-served audiences
      Projects can include rural initiatives, emerging festivals or community-based cinema. Where provision is low,
      programming need not be specialised but geared to serve the best interests of audiences.
      Projects should:
     improve access and inclusion by engaging with diverse audiences which are generally under-represented or
      under-served
     deliver audience development through targeting specific audience groups or communities with limited access to
      film
     offer sustainability and legacy
     demonstrate knowledge of target communities and specific barriers to be addressed.

3.    Regional Screen Heritage
      Regional Screen Heritage projects supported by the Film Culture Lottery Fund should be focused on widening and
      enriching audience access to regional film/moving image material. Support can also address the acquisition,
      preservation, conservation and curation where this is required to deliver access. Priority will be given to projects
      which:

     increase audience reach and engagement
     improve sustainability of collections and explore new revenue streams, on the proviso that this is access focused
     demonstrate a clear legacy at project close
     improve collaboration and partnerships on a local and pan regional basis
     demonstrate the impact and value of Creative England funding interventions.




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PROJECT TIMESCALE

The Audience Development strand will fund projects starting from February 2013 and delivered by July 2013. Projects
taking place after July 2013 should NOT apply to this fund but seek support through the BFI Audience Fund which will be
available as follows:

    UK Audience Network: process launched October 2012; Network operational from April 2013
    Film Festivals Fund – International strand: due to open November 2012
    Film Festivals Fund – Regional strand: due to open January 2013
    Programming Development Fund – due to open April 2013.




ASSESSMENT CRITERIA
Creative England will use the criteria set out below to assess all Audience Development applications submitted to the
Film Culture Lottery Fund.

        Criterion No. 1
        The contribution to Creative England’s aims and objectives for Film Culture
       Does the project contribute to Creative England’s aims and objectives?
       Does the project fit with Creative England's priorities as outlined in these Guidelines?
       Does the project promote diversity in content, audiences or provision?
       Does the project build sustainability for the applicant?
       Does the project create new strategic partnerships?
       Does the project contribute to or align with relevant local, regional or national strategies?

        Criterion No. 2
        Public value - the impacts of the project: Cultural, Social and Economic
       Does the project reflect and/or contribute to the cultural diversity of its environment?
       Does the project offer audiences an opportunity to experience or learn about a type of film to which they would
        not otherwise have access?
       Will the project enrich the audience experience and contribute to long term audience development?
       Will the project enhance access to and appreciation of film heritage?
       Does the project target minority, marginalised or hard to reach groups and promote social inclusion?
       Will the project contribute to the local economy? Will the project make a difference locally?
       How does the project contribute to the wider film agenda – for example through enriching audience choice or
        securing new investment in the sector?

        Criterion No. 3
        Project Strength and quality
       Does the project demonstrate creative flair, ambition and quality?
       Is the project additional to the core work of the applicant?
       Does the project move the organisation into appropriate new areas of delivery?
       What similar projects exist and what have these projects achieved?
       What makes similar projects successful and does the project share any of these characteristics?
       What impact will the project have on the applicant organisation?
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       Criterion No. 4
       Project delivery and management
      Are the necessary resources in place?
      Has the applicant demonstrated the capacity to successfully deliver the project?
      Are the projected outputs and outcomes realistic and achievable?
      Can the applicant and team realise the project as outlined based on their skills and relevant experience?
      What is the track record of any identified project partners?
      Does the project demonstrate effective and useful delivery partnerships, either new or existing?
      How robust are the project’s monitoring, reporting and evaluation mechanisms?
      Are risks sufficiently considered and mitigation plans in place?

       Criterion No. 5
       The strength of the financial plan
      Is the applicant in an adequate financial position to deliver the project?
      Is the budget appropriate to the scale and nature of the project?
      Are the individual items in the budget realistic and in line with industry standards?
      Are the cost assumptions behind the budgets clearly outlined?
      Is appropriate evidence of projected cost and income provided?
      Is the level of match-funding realistic and achievable?
      Does the project offer potential to generate revenue for the applicant?


PARTNERSHIP FUNDING
All Audience Development projects must bring no less than 30% partnership funding in order to be considered. We will
prioritise those projects which demonstrate a high level and range of partnership funding .

Of the match from external sources a maximum of 10% of total budget, and no more than one third of total match, can
be in-kind support from external sources. Internal in-kind support may be considered eligible in some circumstances
where critical to project delivery but should not be relied upon as a source of eligible match.

We will expect sources and amounts of funding to have been identified and for you to provide dates of when funding is
likely to be confirmed, i.e. funding does not have to have been secured but we need to know the timescales for
decisions to be made.

Partnership funding cannot derive from other BFI Lottery schemes, but funds from other National Lottery distributors
are eligible, such as:
        Big Lottery;
        Arts Council England Grants for All;
        Non-UK and European Community funding sources




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STRAND 2: ORGANISATIONAL DEVELOPMENT

WHAT ARE WE LOOKING FOR?
The Organisational Development Strand is directed at organisations delivering Film Culture in England (outside London)
and will support projects that enhance organisational effectiveness and capacity, improve financial stability and income
streams and strengthen management and board governance.

Applications may include, but are not limited, to costs associated with:

       research and testing new ways to engage and reach audiences
       strengthening financial management
       improving board functioning and governance
       establishing or refining personnel or volunteer management systems
       staff training, mentoring and access to events and expertise
       new collaborative working – where this can be shown to develop organisational or sector capacity and
effectiveness.

Applicants are strongly encouraged to focus on critical capacity development needs that, if addressed, would enable the
organisation to strengthen and improve. We recognise that organisational development is an on-going process and we
would expect organisations to utilise this funding to take a significant step forward.

Where appropriate, a diagnostic process on organisational performance and potential prior to development activity will
be considered a valid element of investment. Applicants should be specific about plans to measure the quality, impact
and success of the proposed project.

Priority will be given to those organisations which offer a diverse programme and have clear audience development
plans. Full time exhibitors will need to be showing a minimum of 50% specialised programming. (For a definition of
“specialised film” please see appendix A.)

Applying organisations should demonstrate a dedicated remit to cultural film, for example, the Fund would not prioritise
an application from an arts or music festival which includes a film element within it, or from an organisation with
multiple functions of which film is one element.

The Organisational Development strand will only support applications from organisations which are involved in direct
delivery of activity. Non-delivery organisations such as membership bodies or sector representative groups will not be
eligible. The strand will however consider collaborative or consortium bids from eligible applicants. Where appropriate
Creative England may request that projects combine or collaborate to maximise effectiveness and impact of awards.

Applicants should be mindful of the forthcoming BFI Audience Network and where appropriate demonstrate how an
Organisational Development award would add capacity and effectiveness within the context of emerging networks.

PROJECT TIMESCALE
The Organisational Development Strand will support activity which runs between February 2013 and March 2014. All
activity – including reporting, monitoring and evaluation - must be completed by the end of the financial year 2013/14.

ASSESSMENT CRITERIA
Creative England will use the criteria set out below to assess all Organisational Development applications submitted to
the Film Culture Lottery Fund.

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Criterion No. 1
Organisational fit with Creative England’s aims and objectives for Film Culture
  How does the organisation contribute to Creative England’s aims and objectives?
  How does the organisation promote diversity in film content, audiences or provision?

Criterion No. 2
Quality of Project Proposal
 Has the applicant identified a genuine need within the organisation?
 How has this need been identified?
 Does addressing this need enhance audience development capacity?
 Does the project effectively address the issues(s) identified?
 Has the applicant identified appropriate project partners?
 Has the applicant demonstrated the capacity to deliver the project?
 Are the projected outputs and outcomes realistic and achievable?
 Can the applicant and team realise the project as outlined based on their skills and relevant experience?
 How does the project contribute to or align with relevant local, regional or national strategies?

Criterion No. 3
Impact on Organisation
 What will be the key difference to the organisation as a result of this project?
 What new skills will be developed?
 Will the project create any new partnerships?
 How will the project enhance organisational sustainability?
 Does the project directly impact on revenue generation or cost reduction?
 Will further impacts accrue over time?

Criterion No. 4
Impact on Audiences
  How does the project impact on capacity to engage audiences?
  Will this project enable you to reach new audiences and engage under-represented communities or new
     audiences?
  Does the project offer long term potential for developing audiences and programming?

Criterion No. 5
The strength of financial and evaluation plans
 Is the applicant in an adequate financial position to deliver the project?
 Is the budget appropriate to the scale and outcomes of the project?
 Are the cost assumptions behind the budgets clearly outlined?
 Is there any level of partnership funding?
 Have processes to identify benefits and measures of success been adequately built into the project?
 Has adequate consideration been given to processes for evaluation and review?
 How robust are the project’s monitoring, reporting and evaluation mechanisms?
 Are risks sufficiently considered and mitigation plans in place?




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PARTNERSHIP FUNDING
There is no minimum partnership funding requirement as a prerequisite of lottery awards under this strand. However
value for money will constitute a significant element of the assessment process and organisations bringing additional
resource to their proposed programmes may enhance their chances of securing an award.

Applications from local authorities and Government funded organisations may not be 100% funded by this lottery
strand. Local authority applicants should discuss their application with Creative England prior to submission
(filmculture@creativeengland.co.uk).


DEADLINES AND DECISION TIMESCALE
The application deadline for both strands is noon on Friday 30 November 2012.

The Lottery decision making panel will meet in January 2013. Please ensure that the start date of your project reflects
this process as, under the Film Culture Lottery Fund, Creative England is not able to support projects which have already
started.

APPLICATION PROCESS
Creative England operates an online application process. We cannot accept applications by disc, fax, email or by post.

All applicants are recommended to make initial contact with Creative England for a discussion of your project by
emailing filmculture@creativeengland.co.uk or calling 0161 713 3718. You should do this well in advance of the deadline
to ensure sufficient time before receiving advice and submitting your application.

Application is by a two stage process.

Stage 1
To ensure that your project is eligible, you will be directed to a stage 1 application form which asks a number of
eligibility questions about your project and budget. We will check that your proposal is eligible and if it is, you will be
asked to submit a full online application.

You should allow sufficient time for the eligibility check to take place. Usually an eligibility decision will be confirmed
within 5 working days. Please note that the deadline of 30 November 2012 is for receipt of the formal stage 2
application, not the stage 1 eligibility check form.

Stage 2
If eligible, you will be directed to a stage 2 application form. Please make sure you fill out all sections on the application
form and send the documents requested. If you are unsure about any aspect of the application, please email
filmculture@creativeengland.co.uk with your questions.

Please note that passing the eligibility check and/or receiving advice from Creative England does not constitute an
endorsement of your project or guarantee funding.

For all projects you must submit a detailed income and expenditure project budget with notes detailing budget
assumptions, plus a project schedule showing key milestones. Please note that projects are assessed on their financial
viability and budgets need to be as detailed as possible. The online application process details how these should be
submitted.


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Document submission checklist
All applicants are required to submit:
     a completed online application form
     a full income and expenditure budget for the planned activity with notes describing how you have arrived at the
       figures (for example, venue hire based on daily hire rates, staffing costs based on the number of days at £ per
       hour etc)
     you may send in additional information, such as brochures, reports or other relevant material.

Please note Creative England cannot accept responsibility for applications that are either late or incomplete, and
regret that these will be rejected.

Following your submission, Creative England will send an automated acknowledgement. If you have not received the
automated email from us within 10 days of submitting your application, please contact us at
filmculture@creativeengland.co.uk.

ASSESSMENT PROCESS
For applications of £25,000 and under, one internal assessor will carry out the assessment. For requests higher than
£25,000, two assessors with complementary skills and knowledge will be used. These may be internal to Creative
England and/or external assessors.

External assessors may be used where specialist skills and knowledge are needed to supplement those held by Creative
England. Additional information may be requested to enable assessor/s conduct a proper assessment. Each application
is assessed directly in relation to Creative England’s published assessment criteria, detailed below.

APPEALS AND COMPLAINTS PROCESS
Applicants who wish to make a complaint or appeal against a decision can only do so on the grounds that the correct
procedures, as published by Creative England, have not been adhered to. An appeal or complaint cannot be made on the
basis of the quality or artistic content of an application. In the first instance, complaints and appeals should be made to
Creative England’s Chief Executive within one month of receiving notification of the decision. Please refer to our
Complaints Procedure which is contained in our Lottery Handbook and can be obtained from Creative England upon
request.

Your application may be declined if:
    it is outside Creative England’s Lottery priorities listed above
    it does not adequately fulfil Creative England’s Lottery priorities
    it does not score sufficiently highly against the assessment criteria
    it is outscored by other applications
    there are insufficient Lottery funds to make the award.

Please note that Lottery funds are limited and the allocation of awards is a competitive process. There is a high demand
for our grants and this fund is likely to be heavily oversubscribed. We will assess your application against the key criteria
set out in these guidelines. However, applications meeting the criteria will not necessarily be funded or funded in full.
If your project is declined, Creative England will offer advice should you want to consider re-applying with a revised bid
to a later deadline.




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MONITORING AND EVALUATION
All successful applicants will be issued with monitoring forms in order to show that Lottery resources are being used for
the purposes for which the award was given and that the award supported represents value for money. We will monitor
your project to make sure it develops in line with your application and our funding agreement. You must provide regular
reports as your project progresses. Your offer letter will state when we need these, as they are usually linked to
payment instalments.

Please note - we will monitor funded projects to an agreed standard. We reserve the right to directly monitor a project
as a condition of support and as part of the project award.

We regularly evaluate completed projects to see if you have achieved your aims and delivered the benefits outlined in
your application. Our evaluation will help you and us to measure the success of your project, see how it could be
improved and how the experience could benefit other activity.

Creative England reserves the right to directly monitor a project as part of the project award.

CONFLICT OF INTEREST
Creative England adheres to the principles of the Nolan Committee on the conduct of public life. It will seek to ensure
fairness and equity in all its judgements and to ensure that conflicts of interests, influence, gifts and possibilities of fraud
are managed effectively. All external assessors will be required to sign and return a Conflict of Interest form.

What is an interest?
An interest is deemed to arise where:
    close personal or professional links exist with an organisation or individual receiving or requesting financial
      assistance, or where close relatives or associates have such links
    there may be direct benefit from a financial decision or awareness of commercially sensitive information.

An assessor cannot be involved in the decision-making process if they:
    stand to make financial gain from the result
    have a close relative or business associate who stands to make financial gains from the result
    are a stakeholder (member of staff, board member, paid advisor) of a company or organisation which stands to
      make a financial gain from the result
    are involved in a conflict or action with an applicant
    stand to make other measurable gain from any potential outcome from the decision

CONTACT US
If you have any questions about the application process or awards please contact us:
Tel: 0161 713 3718
Email: filmculture@creativeengland.co.uk
Your completed application should be submitted online via the Creative England website - www.creativeengland.co.uk.
                                                                                                         Appendix A

BFI definition of specialised film
The UK market, in common with most others around the world, is generally driven by mainstream, US studio-originated
material. In such a context, specialised films offer audiences a different experience of cinema. Such films are often
characterised by an innovative cinematic style and by an engagement with challenging subject matter. As such,
specialised films will challenge and educate audiences of all ages and backgrounds.


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The BFI’s definition of ‘specialised’ in this context, therefore, is quite broad and relates to those films that do not sit
easily within a mainstream and highly commercial genre. They may be characterised as being predominantly from the
independent production sector (although they may be being handled by a mainstream, studio-based distributor), or
made with a relatively low production budget (e.g. as compared to a Hollywood production), and have a focus that is
more script and character than effect and event driven and might be expected to appeal at present to a more narrow
audience segment than a more mainstream film.

Specifically the BFI will consider the following criteria when assessing whether or not a film qualifies as Specialised.

Foreign language with subtitles
In almost all circumstances a film of this type will be classified as ‘specialised’. Examples include: Let the Right One In,
The Orphanage, The Diving Bell and the Butterfly, I’ve Loved You So Long, Gomorrah etc.
Documentaries
Again, under almost all circumstances documentaries will be classified as specialised. Examples include: Shine a Light ,
Man on Wire , Sounds Like Teen Spirit , The Age of Stupid etc.
Archive/classic films
Notwithstanding the focus of the original film or the language it is presented in, and the audience which today it might
appeal to, archive or classic films will be regarded as specialised. Examples might include: Goldfinger, The Wizard of Oz
etc.

For films that do not fall into these categories, other criteria will be applied. Specifically consideration will be given to:
Genre
Whereas mainstream films might be regarded as falling within popular and recognisable genres (e.g. Comedy, Romance,
Period, Crime/Thriller, Horror, Action, Sci-Fi). Specialised films are often less easy to define and thus more difficult to
categorise in this way. Examples include: There Will be Blood, Somers Town, The Edge of Love, The Visitor etc.
Hook or USP
With mainstream films, the subject matter is generally immediately obvious, appealing and easy to communicate to
audiences. Specialised films often deal with more complex and challenging subject matters that are less easy to
communicate. Examples include: Persepolis, Hunger, In the Loop, Happy Go Lucky etc.
Cinematic style
Within the mainstream genre, the film’s narrative and cinematic style are generally quite straightforward, uncomplex,
conventional and with high production values. Specialised films are often characterised as having a more innovative or
unconventional storytelling style or aesthetic and may deviate from the straightforward narrative structure found in
mainstream cinema. Overall, the film is more dependent on story, character development and a challenging subject
matter than on high production values, effects and star names. For example: Atonement, Waltz with Bashir, No Country
for Old Men etc.
NB Recorded Live Performances
e.g. Opera, concerts and sports events are considered to be Alternative Content and not specialised




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