Bradford’s link to the FA Cup dates back to 1911 when the trophy was designed and manufactured by local firm Fattorini & Sons.
A detailed view as the FA Cup Trophy is displayed on a plinth prior to the Emirates FA Cup Final match between Manchester City and Manchester United at Wembley Stadium on May 25, 2024. (Photo: Getty Images)
By EasternEyeSep 24, 2024
THE FA Cup first round draw will be held in Bradford next month, recognising the city’s historical connection to the competition and its upcoming role as the City of Culture in 2025.
The draw will take place at Valley Parade stadium on 14th October. The BBC will host the FA Cup first round draw.
Bradford’s link to the FA Cup dates back to 1911 when the trophy was designed and manufactured by local firm Fattorini & Sons. That same year, Bradford City won the competition, defeating Newcastle United 1-0 in a replay. The original trophy was used until 1992, when a replica was created to preserve it, and a sturdier version was introduced in 2014.
Alex Kay-Jelski highlighted the city’s ties to the competition, saying, “To be doing the first round draw in Bradford, a city with such a tie to the competition, is really special, especially 10 years on from City's run to the quarter-finals and incredible win at Chelsea.”
Katrina Bunker, BBC Head of Yorkshire, said, “In the UK City of Culture year, it’s important that Bradford gets celebrated on national and international stages.”
Shanaz Gulzar, Creative Director of Bradford 2025, emphasised the significance of the FA Cup to the city and the local origins of the trophy.
The draw will feature 48 clubs from Leagues One and Two, including Bradford City, alongside 32 non-league sides.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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