FILM HUB NORTH WEST CENTRAL MEMBERSHIP APPLICATION FORM
Please fill in ALL sections where possible.
ORGANISATION NAME:CONTACT NAME:
POSITION IN ORGANISATION:
ORGANISATION ADDRESS (incl. postcode):
CONTACT NUMBER:
EMAIL ADDRESS:
ORGANISATION WEBSITE:
ORGANISATION TWITTER/ FACEBOOK PAGE:
ORGANISATION TYPE – please X
MAJOR MULTIPLEX / FILM SOCIETY/ COMMUNITY CINEMACOMMERCIAL INDEPENDENT CHAIN / MIXED USE/ARTS CENTRE
FULL TIME INDEPENDENT SINGLE VENUE CINEMA / EDUCATION PROVIDER Inc. higher education
PART TIME INDEPENDENT SINGLE VENUE CINEMA / FILM ARCHIVE
MOBILE OR TOURING CINEMA NETWORK / OTHER: please state…
ORGANISATION PROFILE AND MAIN ACTIVITIES
(Please give a brief description including details of your activity around specialised cinema or ambitions to promote and extend film choice in your area)
TERMS AND CONDITIONS OF MEMBERSHIP OF THE FILM HUB NORTH WEST CENTRAL
Organisations that meet the following criteria are eligible for membership:
The Hub is open to organisations such as cinemas, cross art venues, festivals, touring schemes, societies and film archives that are committed to the vision of the Hub as set out in the British Film Institute (BFI)’s Film Forever Strategy for 2012-2017 towards a shared ambition to extend film choice, increase and broaden film audiences, and enhance opportunities for audiences to engage with and learn about film.
Member benefits
· Access to training, networking events and conferences, potential bursaries for industry events
· Access to funding opportunities as they arise in line with BFI FAN objectives and Film Hub NWC business plan
· Receive and share information e.g. Film Hub announcements through its local networks and beyond.
· Opportunity to contribute to the activity and business plan of the Hub
· Opportunities to access data sharing through the BFI FAN’s centralised database and participation in collective monitoring initiatives.
· There is no membership fee to join the Hub.
All members agree to:
1. Participate in Hub activity with a sense of openness, purpose and generosity, believing that open-minded exploration and the sharing of ideas and will result in better outcomes for all involved.
2. Commit to the vision of the Hub as set out in the Hub Business Plan and the BFI’s Film Forever Strategy for 2012-2017 towards a shared ambition to extend film choice, increase and broaden film audiences, and enhance opportunities for audiences to engage with and learn about film.
3. Comply with laws, rules, regulations and guidelines applicable to the exhibition of film (voluntary or statutory).
4. Keep regular and open lines of communication, discussing opportunities and concerns relating to the Hub Activity as they arise.
5. Not commit any act, which shall prejudice or damage the reputation of anyone concerned with the Activity.
6. Embrace the key principles that the network is of and for members; member engagement and support is fundamental to the longer-term legacy of the Hub.
The membership is activated once the following conditions have been met: The Member has emailed a completed membership application form to: , agreeing to the terms and conditions as highlighted above and completing Appendix A and B. The Hub Coordinator confirms that the Member meets the membership criteria to join the Hub based on the information supplied and by and agreeing to the terms and conditions
SIGNED BY:
For and on behalf of [PARTNER- Please insert organisation name here]
Name:
Position:
Date:
SIGNED BY:
For and on behalf of GREATER MANCHESTER ARTS CENTRE LIMITED
Name: Sally Folkard
Position: Film Hub North West Central Development Manager
APPENDIX A: DATA
If your organisation is a screening venue, society, touring programme or arts centre:
How many film screenings on average take place each year?What are your average yearly admissions to these screenings?
On average what percentage of film titles screened are specialised or British- see appendix C for definition of specialised film.
How many venues do you currently use?
How many screens to you currently have?
Please list what equipment you use to screen films – e.g. 35mm, Digital projector.
What format do you screen form? – e.g. DCP, BluRay, DVD.
Do you have satellite capabilities in order to screen broadcasts? – e.g. National Theatre Live
If your organisation is a festival:
When does your festival take place?What are the main venues used by the festival?
How many film screenings on average take place during the festival?
What are your average admissions to these screenings?
On average what percentage of film titles screened are specialised or British- see appendix C for definition of specialised film
Does audience development activity take place outside of the festival dates? If yes please bullet point:
If your organisation is an archive:
How many archive screenings on average take place each year?What are your average yearly admissions to these screenings?
What are the main venues used for these screenings?
Approximately how many moving image items are in the archive collection?
If your organisation is a film education provider:
How many film education events on average take place each year?What are your average yearly beneficiaries to this activity?
What are the main venues used for your activity?
If your organisation is an HEI/ Local Authority and currently supports film activity:
How many film screenings on average take place each year?On average what percentage of film titles screened are specialised or British- see appendix C for definition of specialised film
What are your average yearly admissions to these screenings?
APPENDIX B- EQUAL OPPORTUNITIES MONITORING FORM (to be filled in by the signatory)
Access and Equality are at the heart of our practice and positively celebrated. We seek to ensure that no member receives less favourable treatment on grounds of race, colour, ethnic or nationalorigin, culture, gender, marital status, physical ability, class, sexuality, age, trade unionactivity or political or religious belief. In order to ensure that this policy will be carried out,and for no other reason, members are invited to complete this form. The information willbe used solely for monitoring purposes and will be kept in the strictest confidence.
Gender
Male Female Other Prefer not to say
Age Group
19 or under 20 - 29 30 - 44 45 - 64 65+ Prefer not to say
Employment Status
Employed Unemployed Full-time student
Retired Other Prefer not to say
Ethnicity
Asian/Asian British Black/African Mixed/Multiple ethnic groups
White British White Other Other Ethnic Group
Prefer not to say
Sexual Orientation
Bisexual Gay man Gay woman/Lesbian
Heterosexual/Straight Other Prefer not to say
Disability
The Disability Discrimination Act (DDA) defines a disability as a physical, sensory or mental impairment that has, or had, a substantial and long-term adverse effect on a person’s ability to carry out normal day to day activities.
Do you consider yourself to be disabled within the definition of the DDA?
Yes No Prefer not to say
If you answered Yes and wish to give details of your disability, please enter these below. Please also include any aids, adjustments or equipment that need to be taken into account if you were invited to meet with the Hub team.
APPENDIX C- SUMMARY DEFINITION OF SPECIALISED FILM
Specifically, the BFI will use the following criteria when determining whether a film will be categorised 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.
NB Recorded Live Performances e.g. Opera, concerts and sports events are considered to be Alternative Content and not specialised.
For the full BFI definition of specialised film: http://industry.bfi.org.uk/specialisedfilms