Kieran is a Philosophy graduate and film aficionado currently working in Manchester. He has contributed to the film section of The Mancunion (the UK's largest student newspaper) and blogs for PurpleMonkeyBird and The Huffington Post UK. His cinematic heroes are Hitchcock, Kubrick, Nolan and Tarantino.
Skip Hollandsworth is a screenwriter, editor and journalist whose 1998 article Midnight in the Garden of East Texas became the inspiration for Richard Linklater’s latest movie – the morbidly comic docu-drama, Bernie.
This week sees the release of the Keanu Reeves-fronted documentary Side By Side. The film features interviews with several respected filmmakers, each of whom discuss their personal attitude towards the decline in traditional 35mm photochemical cinematography, and the revolution in digital acquisition, distribution and exhibition.
In the decade between the first and last Harry Potter films (2001-2011) the UK saw a 61 per cent increase in revenue at the box office, with British independent films more than tripling their market share.
Yet despite the continuing success of cinema in the UK, there seems to be a growing concern regarding the rising price of a night out at our nation’s multiplexes.
Adam Deacon is a British actor, writer and director and the winner of last year’s BAFTA Rising Star award. He recently wrote a piece for Independent Blogs about the importance of the “Moments Worth Paying For” campaign; whilst I’ve written before about how I think that responsible filesharing may benefit the film industry. I recently spoke to Adam about how the industry is dealing with filesharing, and how independent British films have managed to thrive despite diminishing DVD sales.
The last week has seen Korea dominate the global spotlight on the internet. Zany South Korean pop video Gangnam Style became the most liked and watched video on YouTube, and days later North Korea held a mass rally to celebrate the launch of their first satellite. Yet despite the online attention that has surrounded the two divided nations, the most intriguing Korean export of the year has gone largely unnoticed.
This year marks the 100th anniversary of one of British film-making’s central institutions – the British Board of Film Classification. Over the past century, the British Board of Film Classification has evolved from the quaint, and supposedly morally superior, institution that was tasked with protecting the public from corruptive indecency; into a transparent, accountable and in-touch organisation that mainly classifies movies so that filmmakers may more effectively meet their target audience.