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\author{churger}
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  /Title (i-daniel-blake.pdf)
  /Creator (Cheatography)
  /Author (churger)
  /Subject (I, Daniel Blake Cheat Sheet)
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    \vspace{-2pt}\large{\bf{\textcolor{DarkBackground}{\textrm{I, Daniel Blake Cheat Sheet}}}} \\
    \normalsize{by \textcolor{DarkBackground}{churger} via \textcolor{DarkBackground}{\uline{cheatography.com/185877/cs/38862/}}}
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  \mymulticolumn{2}{p{5.377cm}}{\bf\textcolor{white}{Cheatographer}}  \\
  \vspace{-2pt}churger \\
  \uline{cheatography.com/churger} \\
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  \mymulticolumn{1}{p{5.377cm}}{\bf\textcolor{white}{Cheat Sheet}}  \\
   \vspace{-2pt}Published 23rd May, 2023.\\
   Updated 22nd May, 2023.\\
   Page {\thepage} of \pageref{LastPage}.
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  Measure your website readability!\\
  www.readability-score.com
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\mymulticolumn{1}{x{8.4cm}}{\bf\textcolor{white}{Key \& Terms}}  \tn
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\mymulticolumn{1}{x{8.4cm}}{{\bf{Bold writing}} indicates an importance to the information, \newline % Row Count 2 (+ 2)
{\emph{italics}} represents information that will likely gain you further marks but isn't necessarily important information. \newline % Row Count 5 (+ 3)
\textasciicircum{}Superscript\textasciicircum{} indicates a recap of a theory or extra/specific information on something specific. \newline % Row Count 8 (+ 3)
{\bf{IDB}} - I, Daniel Blake \newline % Row Count 9 (+ 1)
{\bf{BFI}} - British Film Institution \newline % Row Count 10 (+ 1)
\textasciicircum{}National Lottery funding distributor\textasciicircum{} \newline % Row Count 11 (+ 1)
{\bf{BBC Films}} - British Broadcasting Corporation \newline % Row Count 12 (+ 1)
\textasciicircum{}Now changed to "BBC Film", pointless change ik\textasciicircum{}% Row Count 13 (+ 1)
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\mymulticolumn{1}{x{8.4cm}}{\bf\textcolor{white}{Product Context}}  \tn
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\mymulticolumn{1}{x{8.4cm}}{I, Daniel Blake is an {\bf{independent social realist film directed by renowned filmmaker Ken Loach}} \newline % Row Count 2 (+ 2)
(Notable for his other films: {\emph{Ken, Raining Stones, Sweet Sixteen, etc)}} \newline % Row Count 4 (+ 2)
The film was a {\bf{UK/French production, it received funding from the BFI and BBC Films.}} \newline % Row Count 6 (+ 2)
It became {\bf{Ken Loach's largest grossing film at the box office}} {\emph{(taking over \$8 million)}}, was {\bf{highly critically acclaimed and generated much debate due to the contemporary social and political issues addressed in the film.}} \newline % Row Count 11 (+ 5)
I, Daniel Blake was {\bf{exhibited at many film festivals, won the Palme d'Or at Cannes, and was nominated for many awards including several BAFTAS.}}% Row Count 14 (+ 3)
} \tn 
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\mymulticolumn{1}{x{8.4cm}}{\bf\textcolor{white}{Media Industries}}  \tn
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\mymulticolumn{1}{x{8.4cm}}{-{}- SOCIAL AND POLITICAL CONTEXTS -{}- \newline % Row Count 1 (+ 1)
I, Daniel Blake {\bf{addresses contemporary British social issues such as poverty, the welfare system and the Work Capability Assessment.}} \newline % Row Count 4 (+ 3)
The film portrays a group of {\bf{traditionally underrepresented characters in Newcastle struggling in poverty to gain benefits and support.}}  \newline % Row Count 7 (+ 3)
IDB conveys a {\bf{clear left-wing political message}} and {\bf{criticises specific government policies.}} \newline % Row Count 10 (+ 3)
Consideration of the {\bf{wider economic context and concept of "austerity" might be useful in exploring how changes to benefit policy had been justified.}} \newline % Row Count 14 (+ 4)
Much of {\bf{Ken Loach's work has addressed similar issues}} ({\emph{Cathy Come Home, Raining Stones)}} and {\bf{he is a social campaigner, known for his socialist political views.}} \newline % Row Count 18 (+ 4)
{\emph{This is important to consider in terms of film production and maintaining audiences (arguably the intended audience for this film is educated, media literate and socially aware).}} \newline % Row Count 22 (+ 4)
-{}- THE SIGNIFICANCE OF ECONOMIC FACTORS, INCLUDING COMMERCIAL AND NOT-FOR-PROFIT PUBLIC FUNDING, TO MEDIA INDUSTRIES AND THEIR PRODUCTS -{}- \newline % Row Count 25 (+ 3)
Economic factors including funding are extremely significant to this independent British co-production. {\bf{The funding bodies are the BFI (through National Lottery Funding) and the BBC,}} \newline % Row Count 29 (+ 4)
This film is {\emph{funded differently from many mainstream films,}} like Black Panther who could easily source their own money. \newline % Row Count 32 (+ 3)
} \tn 
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\mymulticolumn{1}{x{8.4cm}}{\bf\textcolor{white}{Media Industries (cont)}}  \tn
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\mymulticolumn{1}{x{8.4cm}}{{\bf{Vast financial profits might be less important for practitioners working in this genre of film as they want to spread the message- but don't be mistaken, it's still a film that must pay its actors and producers, so there is still a need to get profit from the film.}} \newline % Row Count 6 (+ 6)
-{}- PROCESSES OF PRODUCTION, DISTRIBUTION AND CIRCULATION AND THE IMPACT OF DIGITALLY CONVERGENT PLATFORMS -{}- \newline % Row Count 9 (+ 3)
It was {\bf{filmed largely on location (hospital, job centre, etc), features lesser known actors and doesn't rely on special effects.}} \newline % Row Count 12 (+ 3)
The IDB website includes links to social media and the trailer offers a{\bf{ hashtag (\#idanielblake) }}suggesting links with Twitter, but it is worth considering the ways in which the marketing might be more likely to be consumed in more traditional ways.  \newline % Row Count 18 (+ 6)
{\emph{Might an assumed older audience be more likely to see the trailer at the cinema and less likely to search for it on the internet?}} \newline % Row Count 21 (+ 3)
{\bf{It was marketed more traditionally (poster campaign, trailer in cinema, etc) as well as online.}} \newline % Row Count 23 (+ 2)
The film was {\bf{exhibited at various film festivals and received a theatrical release in Britain and various other countries (including France, Spain, Brazil and Japan - although not in the USA).}} \newline % Row Count 27 (+ 4)
It was later{\emph{ released on digital download and DVD/Blu-ray.}} \newline % Row Count 29 (+ 2)
-{}- THE EFFECT OF INDIVIDUAL PRODUCERS ON MEDIA INDUSTRIES -{}- \newline % Row Count 31 (+ 2)
} \tn 
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\mymulticolumn{1}{x{8.4cm}}{\bf\textcolor{white}{Media Industries (cont)}}  \tn
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\mymulticolumn{1}{x{8.4cm}}{It may be useful to explore {\emph{Ken Loach and his significance as a practitioner in British and Global cinema - how Loach has been able to repeatedly secure funding for social realist films and the extent to which the genre itself exists in its current form due to his work.}} \newline % Row Count 6 (+ 6)
Consider the {\bf{extent to which IDB can be described as a mainstream product}}. Loach is a well-known successful figure in the UK and Europe but {\emph{is his work mainstream? Does the fact he is challenging governmental policy mean he is also challenging mainstream opinions?}} \newline % Row Count 12 (+ 6)
It might also be interesting to consider whether there exists a {\bf{pre-sold audience of Loach Fans who are eager to watch his films and the extent to which this gives him license to make films that might not otherwise secure finance.}} \newline % Row Count 17 (+ 5)
-{}- HOW MEDIA ORGANISATIONS MAINTAIN, INCLUDING THROUGH MARKETING, VARITIES OF AUDIENCES NATIONALLY AND GLOBALLY -{}- \newline % Row Count 20 (+ 3)
The marketing materials establish the status and reputation of film- {\bf{positive critical comments on the poster, reference to the Palme d'Or award in the trailer, etc. }} \newline % Row Count 24 (+ 4)
The genre ({\bf{British social realist film) and director Ken Loach are important factors in maintaining an audience.}} Loach has a long history of directing work in the genre and {\bf{unlike some film genres which have been impacted by technical developments and special effects, might this genre be particular in its tendency to resist change?}} \newline % Row Count 31 (+ 7)
} \tn 
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\mymulticolumn{1}{x{8.4cm}}{\bf\textcolor{white}{Media Industries (cont)}}  \tn
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\mymulticolumn{1}{x{8.4cm}}{There are specific and distinct potential audiences that the film is attempting to target through its marketing: \newline % Row Count 3 (+ 3)
The {\bf{trailer references the BBC, BFI and the Palme d'Or.}} \newline % Row Count 5 (+ 2)
The trailer {\bf{explores specific governmental policy}} which may also suggest {\bf{audiences will have an awareness of political and social issues int he UK.}} \newline % Row Count 9 (+ 4)
Only specific{\bf{ "star" identified in the trailer using intertitles is the director Ken Loach.}} \newline % Row Count 11 (+ 2)
-{}- APPLYING THEORY -{}- \newline % Row Count 12 (+ 1)
Curran \& Seaton - Power and Media \newline % Row Count 13 (+ 1)
\textasciicircum{}Theory recap: (1) the idea that the media is controlled by a small number of companies primarily driven by the logic of profit and power. (2) the idea that media concentration generally limits or inhibits variety, creativity and quality. (3) the idea that more socially diverse patterns of ownership help to create the conditions for more varied and adventurous media productions.\textasciicircum{} \newline % Row Count 21 (+ 8)
The trailer seems to {\bf{offer an experience that sits outside the logic of profit and power }}and may arguably also {\bf{demonstrate a level of variety and creativity that does not reflect Curran and Seaton's ideas about the impact of media concentration.}} \newline % Row Count 27 (+ 6)
You can also talk about whether the trailer is {\bf{able to offer a more adventurous production due to socially diverse patterns of ownership or (as above) Loach's own pre-sold audience.}}% Row Count 31 (+ 4)
} \tn 
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% That's all folks
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