Sunday, 29 March 2009

Year 13 Media Debates; The Peacock Comittee, 1986, The Broadcasting Act 1990 and The Hutton Report 2004

The Peacock Commitee 1986;

The Peacock Committee, was a review into financing of the BBC. It was initiated by the Conservative government of Margaret Thatcher on March 27, 1985 and reporting on May 29, 1986. The committee was led by Professor Alan Peacock. The other 6 members were Samuel Brittan, Judith Chalmers, Jeremy Hardie, Professor Alastair Hetherington, Lord Quinton, and Sir Peter Reynolds. Miss Kimberley Taylor was the key paper holder throughout proceedings a back seat member but later sacked and dismissed due to a national newspaper outing her as a non licence fee payer.

The government had expected the committee to report that the television licence fee used to fund the BBC should be scrapped. However, the Peacock Committee favoured retaining the licence fee as they believed it was the 'least worst' option.

The immediate recommendations of the report were:

  • BBC Radio 1 and 2 should be privitised
  • All Television receivers should be built fitted with encryption cdecoders
  • The TV license fee should be indexed to inflation and the BBC should become responsible for its collection
  • The licence fee should be extended to car radios
  • Pensioners dependent on benefits should be exempt from the licence fee
  • No less than 40% of the BBC's and ITV's output should be sourced from independent producers
  • The transmission space used by the BBC and ITV overnight should be sold
  • ITV Franchises should be put out to competitive tender
  • Channel 4 should be able to sell its own advertising
  • Censorship should be phased out

The Broadcasting Act 1990;

The Broadcasting Act 1990 is a law of the British Parliament, often regarded by both its supporters and its critics as a quintessential example of Thatcherism.

The aim of the Act was to reform the entire structure of British Broadcasting; British Television, in particular, had earlier been described by Maggie Thatcher as "the last bastion of restrictive practices". It led directly to the abolition of the Independent Braodcasting Authority and its replacement with the Independent Television Commision and Radio Authority (both themselves now replaced by OFCOM), which were given the remit of regulating with a "lighter touch" and did not have such strong powers as the IBA; some referred to this as "deregulation". The ITC also began regulating non-terrestrial channels, whereas the IBA had only regulated ITV, Channel 4 and the ill-fated British Satellite Broadcasting; the ITC thus took over the responsibilities of the Cable Authority which had regulated the early non-terrestrial channels, which were only available to a very small audience in the 1980s.

An effect of this Act was that, in the letter of the law, the television or radio companies rather than the regulator became the broadcasters, as had been the case in the early (1955-1964) era of the Independent Television Authority when it had fewer regulatory powers than it would later assume.

In television, the Act allowed for the creation of a fifth analogue terrestrial television channel in the UK, which turned out to be Channel 5, now renamed Five,and the growth of multichannel satellite television. It also stipulated that the BBC, which had traditionally produced the vast majority of its television programming in-house, was now obliged to source at least 25% of its output from independent production companies.

The act has sometimes been described, both as praise and as criticism, as a key enabling force for Rupert Murdoch's ambitions in Britain. It reformed the system of awarding ITV franchises, which would prove controversial when Thames Televisionwas replaced by Carlton Television, for what some felt were political reasons, and when Tv-am, admired by Mrs Thatcher for its management's defiance of the trade unions, lost its franchise to GMTV (the by then former Prime Minister personally apologised to the senior TV-am executive Bruce Gyngell). It also allowed for companies holding ITV franchises to take over other such companies from 1994, beginning the process which has led to the creation of ITV plc.

In radio, it allowed for the launch of three Independent National Radio stations, two of them on Medium wave using frequencies formerly used by the BBC, and the other on FM using frequencies formerly used by the emergency services. It set out plans for many more local and regional commercial radio stations, generally using parts of the FM band not previously used for broadcasting, which have since come to fruition. Its plans for expanding community radio would only really be developed in the 2000s.

The Hutton Report 2004;

The Hutton Inquiry was a British judicial inquiry chaired by Lord Hutton, appointed by the United Kingdom Labour government with the terms of reference "...urgently to conduct an investigation into the circumstances surrounding the death of Dr David Kelly". On 18 July 2003, Kelly, an employee of the Ministry of Defence, was found dead after he had been named as the source of quotes used by BBC journalist Andrew Gilligan. These quotes had formed the basis of media reports claiming that Tony Blair's Labour government had knowingly "sexed up" the "September Dossier", a report into Iraq and weapons of mass destruction. The inquiry opened in August 2003 and reported on 28 January 2004. The inquiry report cleared the government of wrongdoing, while the BBC was strongly criticised, leading to the resignation of the BBC's chairman and director-general. The report was met with criticism by British newspapers opposed to the Iraq invasion, such as The Guardian and the Daily Mail, though others said it exposed serious flaws within the BBC.

Year 13 Media Debates; Jonathan Ross And Russell Brand Debate

in lesson we started to look at the controversial issue that raged between the BBC and Ross/Brand regarding there abusive phone calls to comic legend Andrew Sachs. for those who have been living in a box for the past 6 months, ill give a short back drop on the story. they rang his house phone but could only reach his voicemail so decided to leave a message in which Ross shouted "He Fucked Your Grand daughter!". from this point onwards the situation escalated into mayhem and revolved in circles with sarcastic apology after insult. In my opinion it was actually funny, but from the point of view from Sachs and his family, it could actually be considered abusive and i wouldn't find it at all amusing. however, it was pr-recorded and the shows inexperienced producer still decided to let the show be aired, therefore the blame can be placed on more than one person.

These are some notes we came up with from different points of view and could be argued;

Public Views:

  • Younger generations wouldn't be offended and in stead, would find it funny
  • Family would obviously be upset and offended
  • People don't want their money to fund such a controversial show
  • Was only aired because producer was inexperienced and didn't realise the potential outrage it would cause, placing the blame on the BBC, not the entertainers.

Were BBC's actions correct?

  • Shouldn't have been aired as it wasn't recorded live
  • BBC had the option to prevent the public hearing it but passed it up
  • Russell Brand shouldn't have been the only one to to take the brunt of the blame, Ross was just as fundamental in the harassment, yet virtually got off unscathed
  • Brand shouldn't have been used as a scapegoat, especially to save the BBC's reputation
  • On the other hand, it was a smart move on their behalf, and justice for the fee paying public, so it was resolved in some way

Was Any Lasting Damage Done?

  • Jonathan Ross has to be more careful with what he says so that the same ting does not happen again
  • No, because Brand was used as a scapegoat, all the blame was placed on him as he is branded the rogue of show business and he could be blames for influencing Ross, who is usually uncontroversial. Also upon his resignation speech, he was told to "big up" BBC and say how great it was to work for them
  • Ross a huge star for BBC so has more power and influence, therefore was not sacked

The recording from youtube:

Part 1;

Part 2;

Brands Resination;

Friday, 20 March 2009

Year 13 Media - The Future's Bright Bright For British Broadcasting? Argument For And Against.

Arguments For:
  • Britain own the rights to 53% of formats across the world.
  • Pop Idol, Millionaire, Deal Or No Deal, Britains Got Talent and the Office are all british formats that have been replicated in numerous other countries.
  • Elsewhere, countries are relying on briain to create fresh new ideas from which they can use as a basis to create their own programmes.
  • "The Uk has a better tradition in making interesting more factual prgrammes + formats. In the US alot of talent comes from Hollywood."

Arguments Against:

  • There is an increasing concern that britain is running out of fresh innovative ideas for tv programmes.
  • The cost of importing an entire series from America such as "Heroes" is considerably cheaper than creating a series from scratch.
  • the role of the internet in accesing tv programmes has becaome increasingly larger. Websites such as Youtube, BBC i-Player and 4 On-Demand have made it alot more convienient for people to miss their favourite programmes and to catch up a day or so later by just simply typing it into the website.

Wednesday, 11 March 2009

Year 13 Media - Contempary British Broadcasting.

Key Issues Raised By Documentary;

What Are The Key Issues Affecting British Television Today:

  • Funding - Product placement, this is not allowed in britain but in america, products such as macs are frequently used in a specific soaps ect to advertise them. although british programmes are not allowed to contain any form of product placement. british broadcasting companies however are allowed to air shows imported from overseas, containing product placements.

  • New Technology

  • Fragmented Audiences - Less common to get large audiences because of people watching online or one of many other channels.

What Will Be The Key Factors In Ensuring Its Success Or Downfall In The future?

  • Selling Format Shows

  • New Funding/Production models Eg. Deregulation to allow product placements to improve money invested.

  • Transmedia Model - Sharing studios - more cost effective particularly in poorer countries.

  • Using New technology.

What Other Issues Can You Think Of That May/Will Affect British Broadcasting?

  • Imported American Tv Shows - too cheap therefore could stop making british shows instead. Quality of American shows threatening British ones - cheaper to import shows from abroad then it is to create a new show from scratch.
  • PSB Tradition - laws regarding advertising and output.

Monday, 9 March 2009


Because Quantum of Solace is an action film, the obvious types of merchandising would be directed towards me such as a computer game or he latest watch that james bond is seen wearing. i searched th web to find othr ways in which the films name has been sold across the world, and its profile made aware of.

Firstly i checked the onlne shopping webse,, this website had a few produsts associated with the film. som of theses were;

  • Computer games on all platforms, based on th films events and storyline.

  • The dvd availibl for preorder with a special offer and promotional poster included in the deal.

  • Bundles in which youu will be purchasing a blue-ray dvd player and a blue-ray copy of the dvd, and also games console systems with the films official game.

  • A CD of the soundtrack.

  • A number of posters.

  • Playing cards.

  • The Original book written by James Bond creator Ian Flemming.

  • Audiobooks.

  • Downloadable software for both PC and molbile, such as games, ringtones, songs/albums and wallpapers.

  • Replica car models from the movie.

  • A scalextric set using th cars from the film.


I found pretty much all of the same stuff on aswell apart from replica sunglasses worn by Daniel Craig in the film.

Wednesday, 4 March 2009


Upon the release of Quantum of Solace, a range a film posters were released and displayed pretty much everywhere possible. Some examples of these are;

International Box Office Takings

International - Detailed Reports

WEEK 1: Quantum of Solace only opened in two territories besides the UK during its first weekend of release, France and Sweden. The film smashed the 007 series’ records in both countries, taking in $10.6 million total from 824 sites in France and $2.7 million from 149 sites in Sweden.

Combined with the UK opening weekend numbers, the overall first weekend total for the film stands at an impressive $38.6 million, earning it the #1 spot at the box office.

WEEK 2: If the first weekend of box office business offered a preview of the success Quantum of Solace promised at its international markets, then the second weekend was when 007 truly delivered. The film went on general release in an additional 58 territories and managed the stunning achievement of opening better than Casino Royale in every single one of them. To further emphasize this, 13 of these opens actually did double what Royale did two years ago.
Counting all 61 territories, the film took in a whopping $106.5 million at 9,870 playdates, making it the 11th biggest international weekend ever. This take also propelled Quantum to the #2 spot of largest international weekends of 2008, behind behind the $146.6 debut of Indiana Jones and Kingdom of the Crystal Skull.

The film grossed more than triple the combined foreign take for the next four entries on the list: High School Musical 3, Madagascar: Escape 2 Africa, Body of Lies, and Saw V.

The average gross per location was a strong $10,790. Germany was the best new opening overall for the film, with a weekend gross of $14.8 million.

The record breaking continued as well with Bond posting the top opening ever in Switzerland at $3.8 million, Finland at $1.7 million and the United Arab Emirates at $1 million along with Nigeria, Romania and Slovenia. The film also managed the second best ever in both China and India for an international film with its $9.1 million and $3.7 million deubuts, respectively.
007 held strong for its second weekend in France and Sweden as well, declining 46% to $5.7 million and 42% to $1.4 million in the latter.

WEEK 3: Quantum of Solace remained the number one film internationally for the third straight weekend, earning $56.1 million from 10,460 screens in 67 markets.

Despite a near 50% drop-off from last weekend’s astronomical performance, Quantum of Solace opened or remained in the number one spot in 61 of the 67 markets it played in, bringing its cumulative international total up to $251.6 million.

New locations for the film included Mexico and Hungary, where—unsurprisingly—Bond rewrote the series’ record books. Quantum of Solace took in $2.4 million from 505 screens in the former and $430,000 from 34 sites (equalling a strong per-screen average of $12,647) in the latter.
Besides the strong holdover sales in the UK, Germany proved to be a winning location for the film yet again with weekend sals of $8.3 million (down 37% from last week) from 1,120 sites for a cumulative total of $26.4 million. The Bond film held strong in several other markets, including Switzerland, down just 20% to $2.4 million, South Korea down 39% to $2.1 million, Holland down 30% to $1.6 million and Brazil down 36% to $1.4 million.

In China, Quantum fell 41% to $4 million, 62% in Russia to $3.6 million and 52% in France to $3 million (it’s cumulative total in this country after three strong weekends stands at $26.7 million).
After just two to three weekends in release, depending on the market location, Quantum already managed to surpass the final market totals of Casino Royale in the following locations: France, China, Korea, Russia, Bolivia, Bulgaria, Ecuador, Indonesia, Lithuania, Malaysia, Poland, Romania and Ukraine.

WEEK 4: Quantum of Solace ruled the international box office for the fourth straight weekend in a row, pulling in $40.6 million at 10,400 playdates in 72 markets.

With a cumulative international total a little over $308 million, Quantum landed in the sixth highest spot for 2008 and 56th on the all-time list.

The biggest opening this weekend went to Austrailia, where the film debuted with $7.9 million—44% higher than Casino Royale’s debut. Spain was another new market and Quantum of Solace managed to take in $5.1 milion—surpassing the previous Royale record by 36%.

In Germany, Bond fell 47% to $4.3 million for a $32.3 million total and in France, fell 45% to $1.7 million for a $28.8 million total. The film dropped 63% to $1.3 million in China, while South Korea declined 47% to $1.1 million and Switzerland fell 49% to $1 million. With a cumulative total of $8.1 million in Switzerland, Quantum of Solace became the highest-grossing film this year in that market.

WEEK 5: Yet again, Quantum of Solace proved that James Bond is indeed a worldwide icon by winning its fifth consecutive international box office. The film took in $20.1 million at 8,755 playdates in 73 markets, joining Mamma Mia! (which starred former 007 Pierce Brosnan) as the only two films of the year to win five international weekends.

The box office victory for Bond was easy once again, despite a 50% drop due to new competition and only one new debut around the world (a 27 November opening in New Zealand). To date, the 22nd Bond entry has grossed $340.5 million internationally (not counting the US numbers).
In its second Australian frame, Quantum of Solace slid 64% to $2.8 million, taking silver medal thanks to the solid $5 million launch of Baz Luhrmann’s aptly-titled Australia.

Other notable numbers for 007 included a $2.3 million take in its fourth German frame for a cumulative total of $35.3 million and $2.1 million in its second Spanish weekend.

WEEK 6: After five straight weekends of being number one, Quantum of Solace finally fell to second place internationally after Madagascar: Escape 2 Africa rolled out around the world to great success.

007 grossed a solid $10.8 million from 6,350 screens in 72 markets, bringing its international cumulative total to $357.7 million. This total, combined with the the US gross during the same weekend, pushed the worldwide box office total for Quantum of Solace over the $500 million mark—the 61st film overall to hit the milestone.

The sole new opening for Quantum was in Venezuela, where it brought in $415,000 from 75 screens, hailed by Sony as 98% bigger than the comparable bow for Casino Royale. Notable market grosses to date included $30.8 million in France and $37.1 million in Germany.

WEEK 7: Internationally, Quantum of Solace came in third place overall, behind The Day the Earth Stood Still and Madagascar: Escape 2 Africa.

The James Bond film continued to play strong at 4,200 screens in 70 markets, where it grossed $5.2 million, bringing its international total to roughly $367 million. The sole new opening was in the Dominican Republic, with a weekend gross of $70,262.

WEEK 8: Internationally, Quantum of Solace pulled in $2.2 million over the weekend from 2,730 screens in 68 markets, falling out of the top five internationally for the first time. Theatre counts for the film were heavily slashed after last weekend, when it grossed $5.2 million from 4,200 screens.

This was also the first weekend without a single new opening for the Bond film around the world. It’s cumulative international stands at $372.7 million.

WEEK 9: As was the case for the previous weekend, Quantum of Solace again grossed $2.2 million internationally—this time from 2,225 screens in 61 markets (down from the 2,730 a week ago). The film’s international total stands at an estimated $374.9 million.
The Bond film’s single new opening was in Uruguay, leaving Japan now as the final territory left for Quantum to debut in.

WEEK 10: The international total for Quantum of Solace stands at roughly the $382 million mark. Following up last weekend’s opening in Uruguay, the final territory left for the film is Japan on 24 January.

WEEK 11: Quantum of Solace ended up as the top box officer earner of 2008 in Germany and fourth overall in Australia. To date, the cumulative international total stands just shy of $384 million.

WEEK 12: The cumulative Quantum of Solace international total stands at $384.3 million, with the film’s Japan opening taking place this upcoming Friday (23 January).

WEEK 13: The international box office for Quantum of Solace got a boost this weekend thanks to an opening in Japan, the final territory for the 22nd James Bond film. The film grossed $6.4 million there over the weekend, soaring past the previous opening record of $3.2 million held by 2006’s Casino Royale. The cumulative international total stands at $391.5 million.

WEEK 14: The international box office for 007 grew an additional $7 million, the overwhelming majority of it coming from Japan, where Quantum of Solace entered into its second weekend of business. This boost in business brought the international total (non-US) for the film to just under the $400 million mark cumulatively.

WEEK 15: The fifthteenth weekend of business saw Quantum of Solace surpass the $400 million mark thanks to an additional $3.3 million in box office business, the majority of it coming from Japan.

WEEK 16: An additional $2.5 million was added to the international box office total for Quantum of Solace, once again the overwhelming majority of this coming from the film’s mid-January opening in Japan.

WEEK 17: Roughly $1.5 million was added to the international box office total for Quantum of Solace, bringing the film’s total (not counting US) up to $405.5 million.

WEEK 18: Japan contributed almost all of the roughly $1 million that was added to Quantum’s international box office over the weekend.

wow that was alot! it might seem abit of waffle and slightly surplus to requirements, but i think the box office takings from all over the world aswell as the UK and US, is quite important to my case study.this is because the takings and gross reflect whether or not the marketing was cost effective.

More Box Office...

US information now :)

US - Detailed Reports

WEEK 1: James Bond made his debut in the United States and what a debut it was. Soaring past expectations and previous records, Quantum of Solace grossed an absolutely phenomenal $67.5 million opening weekend. This total put Quantum of Solace above and beyond the previous number one opening weekend record-holder in the series, 2002’s Die Another Day (which debuted with $47.1 million) as well as the $40.8 million debut for Daniel Craig’s Casino Royale two years ago.

Industry expectations had pegged a US debut between $50-60 million for the Bond film, but Quantum’s $27 million take on Friday alone was a sign that 007 was aiming much higher at the box office.

Unlike the incredibly close competition between Royale and those nagging penguins two years ago, Quantum of Solace ruled alone this weekend. The closest competitor was Madagascar: Escape 2 Africa, which took in $36.1 million in its second weekend of release.
Opening weekend audience was comprised of 54% males, with 58% of patrons age 25 and older.

WEEK 2: The competition came on strong during the second weekend for Quantum of Solace. While the vampire romance Twilight easily walked away in first place with a $69.6 million weekend, James Bond managed to cling onto the #2 spot with $26.7 million (just beating Disney’s Bolt, which debuted with $26.2 million).

Despite dropping 60% from the film’s stunning $67.5 million debut, this second weekend of business saw Quantum of Solace surpass the $100 million barrier faster than any other film in the 007 series. The cumulative total stood at $108.7 million at the end of the weekend.
‘We’re in great shape. We’re way ahead of where we were with Casino Royale,’ Sony domestic distribution president Rory Bruer said at the time.

WEEK 3: Many newer competitors battled against James Bond for the US box office during Quantum’s third weekend of release. Overall, the 007 film came in fourth place with a respectable $19.5 million take (down 27% from the previous frame). The film took in $8.2 million alone on Friday, up 80% from Thanksgiving Day and down just 3% from the same day last week.
Beating the Bond film, which expanded to 3,501 theatres in total earlier in the week, was new release Four Christmases and Twilight and Bolt in second and third, respectively.

WEEK 4: The competition remained strong at the box office for the fourth US weekend. Quantum of Solace fell one spot to rank fifth overall, pulling in $6.6 million over the weekend. Its cumulative total stands at $151.6 millon, which Reuters pointed out was about $12 million ahead (inflation unadjusted) of where Casino Royale was at the same point in its run in 2006.

WEEK 5: In its fifth weekend at the US box office, Daniel Craig’s second James Bond film finished sixth place overall (a drop of one spot from last week), falling 43% to $3.7 million. The film’s theatre count was heavily slashed by 788 screens from last weekend to 2,635.
Quantum’s cumulative total stands at $157.6 million in the US, getting closer each day to the franchise record of $167.5 million, held by 2006’s Casino Royale.

WEEK 6: Quantum of Solace grossed an estimated $2.2 million over its sixth US weekend, down 42% from the previous session and ranking 10th overall. The theatre count also dropped by 761 screens, leaving the total at 1,874. The film’s cumulative total stands at $161.2 million.
With this latest weekend gross, the 22nd James Bond film surpassed (inflation not adjusted) the US total for Die Another Day, which brought in $160.9 million overall.

WEEK 7: Quantum of Solace pulled in $1.45 million in its seventh US weekend, down 29% from last weekend and finally fell out of the top ten overall (007 ranked 18th this time around). Theatre counts also took a hit, falling 983 to 891 locations total. The film�s cumulative total in the US stands at $164.3 million, closer and closer to the $167.4 million record set by Casino Royale two years ago.

WEEK 8: An additional $1.1 million was grossed over the film’s eighth weekend in the US, with theatre counts remaining the same at 891 in total. This gross represented a drop of 19% from the previous weekend, with Quantum of Solace ranking 20th overall.
The cumulative total in the US stands at $166.9 million, meaning that the Casino Royale record of $167.4 million will likely be broken quite soon.

WEEK 9: This latest week of business finally saw Quantum of Solace surpass the previous $167.4 million record held by Casino Royale to become the highest grossing James Bond film in the United States (note that the official press release lists $167.1 million as the final Royale gross).
Theatre counts dropped once more, leaving Quantum playing in 357 locations. It’s cumulative gross stands at $167.5 million.

WEEK 10: Theatre counts for Quantum of Solace dropped once again, but this time only by 28 theatres, leaving 007 playing at 329 locations. Ranked 30th overall in its tenth weekend of business, the film grossed $395,678 to bring its cumulative total up to $168 million.

WEEK 11: Ranking 31st overall over the weekend, Quantum of Solace grossed $225,000 to bring it’s cumulative total to $168.3 million. Theatre counts fell once again (this time by 57), leaving the 22nd James Bond film playing on 272 screens.

WEEK 12 - FINAL: The final US gross for Quantum of Solace: $168,368,427.

Box Office Takings Continued...

I realised the last post started to drag abit and was really long so i thought i would break it up and do the 3 parts on seperate posts so here we go :)

UK - Detailed Reports

WEEK 1: Record-breaking was the name of the game when it came to the box office debut of Quantum of Solace in the UK. After a glamorous world premiere at the Odeon Cinema in London’s Leicester Square on Wednesday, 29 October, regional screenings then followed on Thursday (30th). The film went on general release on Friday the 31st and debuted with $8 million (£4.94 million)—surpassing Harry Potter and the Goblet of Fire to become the biggest Friday opening of all time in the UK.

The final weekend total for the film (after opening on 1,150 screens) stood at $25.3 million (£15.7 million), making Quantum of Solace the biggest three-day opening ever in the UK.
In comparison, Casino Royale had a UK opening day and weekend total of, respectively, £1.7 million and £13.49 million.

Producers Michael G. Wilson and Barbara Broccoli said, ‘We are absolutely delighted that Quantum of Solace has broken box office records in the UK and would like to thank the British public for going to the cinema in such incredible numbers to see James Bond in his 22nd adventure.’

WEEK 2: The second weekend of release saw Quantum of Solace expanding to 61 markets in total around the world and once again the UK was the top earner box office-wise.
Bookers were keenly watching this second weekend of business, with early estimates hoping for a drop-off of no more than 50%. The Bond film surpassed expectations yet again, taking in a stunning $15.1 million (£9.6 million), declining just 40%. The cumulative total stands at an impressive $50 million (£32 million).

WEEK 3: Quantum of Solace played in 67 markets around the world during its third weekend and yet again, the UK was the biggest holdover. The film pulled in $8.6 million (a 41% drop from the previous weekend) from 1,218 screens, bringing the cumulative total up to $64.1 million.

WEEK 4: For the fourth straight frame, Quantum of Solace remained strong at the UK box office, pulling in $4.4 million over the weekend (down 44% from the previous frame. To date, the film has taken in more than $71 million.

WEEK 5: Quantum of Solace came in second place overall during its fifth weekend in the UK. Falling 47% to $2.4 million, the film’s cumulative total stands at a strong $75.5 million. Holiday opener Four Christmases came in first with $3.5 million.

WEEK 6: The competition continued during the sixth weekend of UK business for Quantum of Solace. The film grossed about $2 million, bringing its cumulative total to $77.4 million.

WEEK 7: In its seventh weekend in the UK, Quantum of Solace brought its cumulative total up to an $78.1 million.

WEEK 8: The UK cumulative total for Quantum of Solace grew to $78.8 million in the eighth week.

WEEK 9: The UK cumulative total for Quantum of Solace grew to an estimated $79.1 million (roughly £54.6 million) in the nineth week.

WEEK 10: During the 10th week of box office business, the UK cumulative total for Quantum of Solace grew to $79.9 million.

WEEK 11: Quantum of Solace helped make 2008 a record year for box office returns in the UK with a year-end £51 million total (ranking second overall—Mamma Mia! grabbed first with £69 million). As of the 11th weekend, it’s cumulative total stands just over the $80 million mark.

WEEK 12: The Quantum of Solace total in the UK grew to $80.2 million.

WEEK 13: The cumulative UK total for Quantum of Solace is $80.2 million.

WEEK 14: The cumulative UK total for Quantum of Solace remains at the $80.2 million mark.

WEEK 15: The cumulative UK total for Quantum of Solace remains at the $80.2 million mark.

WEEK 16: The cumulative UK total for Quantum of Solace remains at the $80.2 million mark.

WEEK 17: The cumulative UK total for Quantum of Solace is $80.2 million.

WEEK 18 - FINAL: The final overall total for Quantum of Solace in the UK: $80,279,722.

Box Office Takings collects together all the latest box office news and figures for the 22nd James Bond film, Quantum Of Solace.
Daniel Craig's second 007 film follows on from 2006's Casino Royale, which was an unstoppable success at the worldwide box office with an overall take of $594 million.
Specific reports follow below the box office numbers and are broken down into three categories: UK/US/International:

Main Totals: Weekend-By-Weekend

31 October-2 November; (1st)

7-9 November; (2nd)

14-16 November; (3rd)

21-23 November; (4th)

28-30 November; (5th)

5-7 December; (6th)

12-14 December; (7th)

19-21 December; (8th)

26-28 December; (9th)

2-4 January; (10th)

9-11 January; (11th)

16-18 January; (12th)

23-25 January; (13th)

30 January-1 February; (14th)

6-8 February; (15th)

13-15 February; (16th)

20-22 February; (17th)

27 February-1 March; (18th)

Opening Day:

£4,940,000 ($8,021,000)



The ratings i have found are from and are from a poll of 61,831 users.

Ratings Percentage Votes

10 9.8% 6,071

9 10.4% 6,417

8 22.4% 13,857

7 26.2% 16,220

6 15.2% 9,420

5 7.1% 4,373

4 3.4% 2,080

3 1.9% 1,184

2 1.1% 685

1 2.5% 1,529

Tuesday, 3 March 2009

Chosing A Films Marketing To Study

Later on, we was told to look closer at a single film and how it has been marketed the world over, and whether you think it had paid off, or the amount of money spent, has not been justified by ratings and takings at the box office. i chose a the latest james bond installment, QUANTUM OF SOLACE. i chose this film because i like the other installments, and the chain of films is extremely popular and has a large following, therefore a large sum of money will have been spent marketing. also i wondered personally whether or not it was more effective on this film than its pre-decessor, CASINO ROYALE.

So begin with the films basic information :)

Title: Quantum Of Solace

Release Date: 31st October 2008

Running Time: 106 Minutes

Genre: Action/Thriller/Adventure

Budget: $200 million (US Dollars)

Woldwide Gross: $574,884,602 (US Dolloars)

Produced By: EON Productions

Distrimbuted By: MGM ( Metro-Goldwyn-Mayer) and Columbia Pictures

Plot: Seeking revenge for the death of his love, secret agent James Bond sets out to stop an environmentalist from taking control of a country's valuable resource.

Awards/Nominations: 12 nominations and 2 wins, including BAFTA nominations for Best Sound and Best Special Visual Effects.

Director: Marc Foster
Writers: Paul Haggis
Neil Purvis
Robert Wade
James Bond: Daniel Craig
Camille: Olga Kurylenko
Dominic Green: Mathieu Amalric
M: Judie Dench
Rene Mathis: Giancarlo Giannini
Strawberry Fields: Gemma Arterton
Felix Leiter: Jeffrey Wright
Gregg Beam: David Harbour
Mr White: Jesper Christensen
Producers; Barbara Broccoli
Michael G. Wilson
Executive Producers; Callum McDougall
Anthony Waye
Assistant Producer; Gregg Wilson

Own Marketing Scheme - Duplicity

A week later i think, a task was set in which we must work in groups to construct a detailed marketing plan for a new film being released. my group was given the film Duplicity. we were given a list of sources and were told to give reasons why we chose each one and why it would be relevant for the genre of film it was. these were;

  • Radio

  • TV-talk shows/interviews

  • Press-newspapers? why?

  • Magazines

  • Web Sites

  • Gaming

  • Cross Media Advertising-public display posters (billboards/bus stops)/TV/radio/magazines/NMT etc.

  • Merchandising

  • Corporate Tie-Ins; star character endorsements/sponsorships

Straight away we thought it would be easier if we got some back ground on the film itself and the stars in it. we discovered that it starred Julia Roberts and Clive Owen, and was action/comedy about a pair of corporate spies who share a steamy past hook up to pull off the ultimate con job on their respective bosses. it was also made by Universal Studios.

With this information in mind, we set out to find other companies that are owned by NBC. we discovered that they own a television station, coca-cola, Powerade and Activison among others.

This is our plan:

  • We would give away free tickets to the premiere on Kiss100 or radio one, as our target audience would be teenagers/young adults.
  • Clive Owen on Johnathan Ross/Paul O'Grady and other English chat shows as he is English himself and a more accessible actor.
  • Julia Roberts on the other hand is less accessible and would be harder to persuade to break her image and appear on a low profile show, therefore she would do magazine interviews in Vogue etc. and perhaps an appearance on The Jay Leno show as it is aired on the NBC network.
  • advertise trailer during superbowl, which is on nbc and is watched by 40 million people worldwide.
  • General Electric also own BAA flights, so i would have for sale a Duplicity themed goody bag and show the trailer in flight.
  • Win a flight to Orlando, Universal Studios, (which they own of course).
  • Special promotional packaging with products their TNC produce; Coca-Cola, Powerade and Credit Card for their bank.
  • Julia Roberts starring in a promotional Coke commercial
  • Perhaps a game made by vivendi, a by-company of Activision, exclusive to xbox 360, as rival conglomerate SONY, obviously produce the playstation3.
  • Win a trip to paris, as vivendi is a company based in paris, on a flight by BAA.

As you can see, we didnt get an awful lot done in regards to music and such, but all of the components of the "Vertical Integration" system are present. General Electric are a massive conglomerate who own a variety of media based smaller companies and i am now beginning to understand why. its is becauses of their investment in these, that they have, eventually, made a larger profit than if they had paid other rival TNC's or Trans National Corporations, for rights to their companies to promote and advertise on. i really enjoyed this lesson and found out a lot about packing and distribution among corporations, and giving the powerpoint presentation was quite interesting aswell.

Introduction To Case Study

In a lesson with Nina, we started looking at Hollywood. in this lesson we all discussed what our own ideas and perceptions on the place and words that we associate with it. some were:
  • exaggerated
  • superficial
  • the American dream
  • walk of fame
  • wealth
  • superstars

we then went on to talk about the main Hollywood production companies and studios, going into detail about who owned them and why they had so many links to other forms of media throughout the world. these were:

  • Universal Studios; owned by general electric, a very well known multi-national American technology and services conglomerate. as of September 2008, it was the worlds tenth largest company and is also known as NBC.
  • Fox Studios; is owned by Richard Murdoch's News International, a company specialising in mass media and owning numerous newspapers all over the world.
  • Paramount; is owned by the same company that own MTV, Nickelodeon, Blockbuster Video and Showcase cinema, Viacom.
  • Disney; a huge transnational corporation and household name the world over, that owns Beuna vista and Miramax, which in turn is arguable the worlds largest independent film company.
  • Columbia Pictures; owned by Sony, which also took over ownership of MGM in September 2004.
  • Warner Brothers; part of the worlds largest media company Time Warner.

We noticed a relationship between the conglomerates who own these production companies and the other companies in which they own. main stream film making, at the end of the day, is about making a profit and having as many fingers in as many pies as possible, can be extremely helpful in both marketing and packaging your product. producing, distributing and exhibiting their own films and controlling every aspect of the production process is known as Vertical Integration. this is why these companies own other smaller companies. it saves a huge some of money on things like buying rights to names and hiring other companies to do certain jobs, enabling a profit increase.