StoryFutures Academy is a genuine HEI-Industry collaboration between trainers and producers to develop the storytelling techniques and languages that will shape the future of immersive narrative. Led by the National Film & Television School and Royal Holloway, our bid is founded on research and training knowledge that places storytelling at its heart. We will provide core screen sector talent with the tools, space, creative freedom and cross-sector work structures to unlock the creative and commercial potential of immersive production. Partnered by Sir Lenny Henry, Destiny Ekaragha, Alex Garland, Georgina Campbell and more we will lead a charge of UK creative talent into immersive that embeds diversity into the development of the medium across writing, directing, producing, performance, cinematography, editing, animation and VFX. We will deliver training in action, providing opportunities for creatives to learn through taking part in immersive productions that tackle key creative and technical challenges. We link this to R&D in business model innovation and audience insight that combines electronic engineering, neuro- and cognitive psychology with long-sighted ethnography to provide a catalyst for growth of creative industries. We de-risk immersive production through 4 workstreams that provide £1.25m for collaborative projects with immediate impact: 1. Embedded Placements: Promoting talent development and commercial vitality by enabling placements of screen sector talent on immersive productions for cross sector innovation and work-based learning; 2. Collaborative Co-productions: Co-producing immersive experiences that tackle sector wide creative and technological barriers to growth, upskilling core screen sector workers via access to hands-on learning on live productions that build a cross-sector talent pool; 3. Experimental Labs: R&D-based productions that expose core screen sector talent partners to immersive and push technological and creative boundaries; 4. Developmental Training: Training a next generation of immersive storytellers and trainers that cascades knowledge to HEIs, FECs and industry across the country. We are unique in our industry credibility and relationships. The NFTS was awarded the BAFTA for Outstanding British Contribution to Cinema in 2018, and it is the only institution in the UK where industry already invest over £1.5m annually in CPD level training courses, enabling us access and partnership with internationally renowned on- and off-screen talent. Our partners are world-leaders in how story and new technologies combine to produce compelling and novel immersive experiences, including immersive theatre (Punchdrunk), VR (Rewind), gaming (Sony IE), film (BFI), television (Sky VR), advertising (McCann) visual effects (The Third Floor, Double Negative), performance capture (Imaginarium). We bring them together with advanced Original Equipment Manufacturers (Microsoft, Plexus) and sector experts (Digital Catapult) to place story and technology in tandem to explore, research, train and develop cross sector storytelling talent and business models. SFA will create over 60 ICE productions and generate nearly 1,000 direct beneficiaries. It will cascade benefits, insights and opportunities via collaborations with regional partners, including NFTS' base in Scotland alongside TRC Media and UK Games Fund as well as access to nationwide labs via Digital Catapult, and co-production bases in Manchester (McCann) and Yorkshire (BFI). It also gains significant advantage from the economies of scale and access to talent achievable from our Gateway Cluster base with its easy flows of talent and work in and out of London. StoryFutures Academy can make the UK a world-leader in immersive because it has unmatched access to mainstream creative screen sector talent, companies and technologies, allowing it to translate experimentation, training and R&D into tangible economic and creative ROI for the whole of UK Plc.

Promoting improved understanding of how children's daily lives are influenced by the digital world that now surrounds them and how they experience family, peer and school life as a result represents a substantial challenge and opportunity relative to facilitating positive mental health and development for children and young people. Historically, researchers have emphasised the role of supportive parenting and positive school experiences (including peer relationships) as primary social environmental influences on children's mental health, with most interventions targeting family and school-based influences aimed at remediating poor mental health outcomes for children and young people. It is increasingly recognised that the digital environment constitutes a new dimension or common denominator to these traditional agencies of socialisation influence on children's mental health. Yet, little progress has been made in equipping parents, teachers and the professional agencies that work with families and schools with new knowledge that harnesses potential strengths while offering protection from substantial risks posed to children by the digital world. How do we equip parents, teachers, practitioners, policy makers and youth themselves with information, support and resources that promotes positive mental health in a contemporary (and future) digital age? Addressing this core challenge represents the primary objective of our multi-disciplinary e-Nurture network. While significant advances have been made in relation to highlighting and understanding the genetic and biological underpinnings of poor mental health and mental health disorders in recent years, it is recognised that the social environments children experience and interact with remain a substantial influence on their positive and negative mental health trajectories (even when genetic factors are considered). Three primary areas of social environmental influence on children's mental health have dominated past research and practice in this area. First, family socialisation processes, specifically parenting practices are recognised as a substantive influence on children's mental health. Second, peer influences are noted as an important influence on children's mental health. Third, school-based factors are recognised as a further influence on children's mental health and development. Increasingly, the digital environment is recognised as a factor that both infuses traditional agencies of socialisation for children and that can influence children directly. Policy makers have recently directed significant attention to the prevalence rates and support needs among children and young people who experience mental health problems. The digital environment and its potential for positive and negative influences on children's well-being, mental health and development has also received substantial research, policy and media attention. Building on this policy platform, the primary objectives of our network are to (1) explore how the digital environment has changed the ways in which children experience and interact with family, school and peer-based influences and what these changes mean for children's mental health, (2) identify how we can recognise and disentangle digital risks from opportunities when working with families, schools and professional agencies in developing intervention programmes to improve mental health outcomes for children and young people, and (3) identify how we effectively incorporate and disseminate this new knowledge to engage present and future practice models and the design and development of digital platforms and interventions aimed at promoting mental health and reducing negative mental health trajectories for young people. The network will engage a collaborative, cross sectoral approach to facilitating impacts by directly engaging academic, charity, industry, policy and front-line beneficiaries (e.g. families, parents, schools, teachers, children and young people).

Promoting improved understanding of how children's daily lives are influenced by the digital world that now surrounds them and how they experience family, peer and school life as a result represents a substantial challenge and opportunity relative to facilitating positive mental health and development for children and young people. Historically, researchers have emphasised the role of supportive parenting and positive school experiences (including peer relationships) as primary social environmental influences on children's mental health, with most interventions targeting family and school-based influences aimed at remediating poor mental health outcomes for children and young people. It is increasingly recognised that the digital environment constitutes a new dimension or common denominator to these traditional agencies of socialisation influence on children's mental health. Yet, little progress has been made in equipping parents, teachers and the professional agencies that work with families and schools with new knowledge that harnesses potential strengths while offering protection from substantial risks posed to children by the digital world. How do we equip parents, teachers, practitioners, policy makers and youth themselves with information, support and resources that promotes positive mental health in a contemporary (and future) digital age? Addressing this core challenge represents the primary objective of our multi-disciplinary e-Nurture network. While significant advances have been made in relation to highlighting and understanding the genetic and biological underpinnings of poor mental health and mental health disorders in recent years, it is recognised that the social environments children experience and interact with remain a substantial influence on their positive and negative mental health trajectories (even when genetic factors are considered). Three primary areas of social environmental influence on children's mental health have dominated past research and practice in this area. First, family socialisation processes, specifically parenting practices are recognised as a substantive influence on children's mental health. Second, peer influences are noted as an important influence on children's mental health. Third, school-based factors are recognised as a further influence on children's mental health and development. Increasingly, the digital environment is recognised as a factor that both infuses traditional agencies of socialisation for children and that can influence children directly. Policy makers have recently directed significant attention to the prevalence rates and support needs among children and young people who experience mental health problems. The digital environment and its potential for positive and negative influences on children's well-being, mental health and development has also received substantial research, policy and media attention. Building on this policy platform, the primary objectives of our network are to (1) explore how the digital environment has changed the ways in which children experience and interact with family, school and peer-based influences and what these changes mean for children's mental health, (2) identify how we can recognise and disentangle digital risks from opportunities when working with families, schools and professional agencies in developing intervention programmes to improve mental health outcomes for children and young people, and (3) identify how we effectively incorporate and disseminate this new knowledge to engage present and future practice models and the design and development of digital platforms and interventions aimed at promoting mental health and reducing negative mental health trajectories for young people. The network will engage a collaborative, cross sectoral approach to facilitating impacts by directly engaging academic, charity, industry, policy and front-line beneficiaries (e.g. families, parents, schools, teachers, children and young people).

Digital games have extraordinary economic, social and cultural impact. The industry is one of the fastest-growing in the world, larger than film or music, with revenues expected to increase from $138 billion in 2018 to $180 billion by 2021. 2.6 billion people worldwide play digital games (21 million in the UK), with an average age of 35 and equal numbers of females and males. The Wellcome Trust-sponsored game Senua's Sacrifice, made in the UK, won 5 Baftas for its interactive and educational portrayal of psychosis. The UK games industry is a global leader - UK game sales are valued at £4.3bn with 12,000 people directly employed. The games industry is innovative and hungry for innovation - recent research breakthroughs in Artificial Intelligence (AI) and Machine Learning (ML) have arisen through games research undertaken at Google DeepMind in the UK. Rolls Royce makes better jet engines using 3D technology pioneered in games. Games are leading the "data and AI revolution" of HM Government's 2017 Industrial Strategy. Games have become a massive lever for social good through applied games for health, education, and science. The mobile game Pokémon Go added 144 billion steps to physical activity in the US alone. The Alzheimer's Research-funded Sea Hero Quest game collected data equivalent to 9,400 years of dementia lab data within 6 months. The EPSRC Centre for Doctoral Training in Intelligent Games and Game Intelligence (IGGI) first received funding in 2014, and has since been a huge success: raising the level of research innovation in games, with the highest-possible ratings in our EPSRC mid-term review. The next phase of IGGI will inject 60+ PhD-qualified research leaders and state of the art research advances into the UK games industry. The two core themes of IGGI are: (1) Intelligent Games: increasing the flow of research into games. IGGI PhD research in topics such as AI, data science, and design will empower the UK games industry to create more innovative and entertaining games. IGGI research has already enhanced the experience for millions of game players. IGGI will create engaging AI agents that are enjoyable to interact with, tackling fundamental challenges for the future of work and society that go beyond games. IGGI will spearhead new AI techniques that augment human creativity by automatically 'filling in the details' of human sketches. (2) Game Intelligence: increasing the use of intelligence from games to achieve scientific and social goals. Every action in a digital game can be logged, creating huge data sets for behavioural science. For example, current IGGI students have assessed traits such as IQ, agreeableness, or attention from large game datasets. IGGI students will investigate more intelligent, adaptive games for education and to improve mental health. IGGI will maximize the enormous opportunity for scientific and social impact from games by laying the research groundwork for further data-driven applied games for health, science, and education. IGGI will massively advance these research themes, and train 60+ PhD students to be future research leaders. To accomplish this, our updated training programme and 60+ research supervisors will provide students with rigorous training and hands-on experience in AI, programming, game design, research methods, and data science, with end user and industry engagement from day one. Recruiting and empowering a diverse student cohort to promote equality, diversity, and inclusion through games, IGGI will drive positive culture change in industry and academia. Students will work with leading UK experts to co-create and disseminate standards for responsible games innovation. Directly working with the UK games industry through placements, workshops, game development challenges, and an annual conference, they will advance research knowledge and translate it into social, cultural and economic impact.

The stories of tomorrow will reach audiences in new and complex ways, fuelled by immersive technologies, data-driven personalisation, smart devices and AI alongside evolutions in contemporary screen form. Screen industries' creative story processes, techniques, business models, value networks and workflows are thus challenged to iterate a next generation of storytelling that can engage audiences in novel and commercially viable experiences. We span screen and createch industries, converging world leaders in storytelling, including Double Negative, Punchdrunk, nDreams, Sony, Pinewood, BBC Worldwide, HTC Vive and the BFI, to work alongside SMEs. We match these with academic expertise traversing story form (Media, Gaming, Drama); audience behaviour (Psychology); business models (Management); production cultures (Media); hardware, software and user interfaces (Engineering, Comp Sci, Design), to facilitate R&D that will create innovative and compelling content, products and service for emerging creative technologies. StoryFutures will grow both screen and createch industries. Led by an innovative StoryLab model, we work across 4 themes: T1 StoryLab; T2 Value Networks; T3 Data in the Creative Workflow; T4 Audience Engagement. Our StoryLab (T1) provides expertise and space for collaborative approaches to creative challenges that are barriers to business growth, such as how to increase user comfort in VR, build social immersive experiences or novel exploitation of existent IP. It will operate at professional and student level, spanning FE, HE and CPD, training a next generation of storytellers and entrepreneurs in world-class creative content and products. StoryLab will develop, fund and support prototype and risky innovations in story form that tackle such challenges, providing SMEs with new business opportunities and access to further funding and mentoring (T2). SF's R&D programme links these innovative productions with R&D on the effective management of data in the creative production pipeline, enabling more efficient and creative workflows (T3). And, via our partner distribution platforms (HTC, Heathrow, BFI, Sky VR), tests next gen experiences with audiences in novel ways that produce rich understandings of their engagement, including cognitive and neurological responses linked to a long-range analysis of youth audiences' preferences in these new spaces (T4). Across this work we will grow revenues and jobs in our region and beyond. With over £6.7m in leverage funding, SF is led by Royal Holloway together with its industry partners and HEIs, Brunel, NFTS and University of Creative Arts. SF spans film, television, gaming and immersion across a regional cluster that forms a gateway in and out of London. It will connect the film studios in the region's north to Guildford's gaming in the south, across to the west's plethora of createch companies and back to London's intensity of creative industries (see map). The cluster thus emphasises the region's - and UK economy's - fusion of digital and creative skills, with such companies likely to be 'more productive and have higher growth rates than [those] located entirely in one discipline' (Bazalgette 2017: 14). The region contains nearly 20% of the UK's high concentration, high growth creative Travel to Work Areas, forming the highest proportion of creative jobs and businesses outside of London. Within the cluster Heathrow constitutes "a critical driver of the area's economy" (TVBerkshire, 2017) as well as a gateway to the global markets and audiences that our innovative products and services must reach. SF will address a significant challenge for the UK creative economy in sustaining creative conurbations that have the potential for 'higher levels of business productivity' than Creative Cities (Nesta, 2016: 6). The Gateway Cluster thus has potential to form a powerhouse akin to the 'Golden Triangle' of medical research, industrial collaboration and innovation to its immediate north.