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Author: Robert Shail
Publisher: Bloomsbury Publishing
ISBN: 1838718052
Category : Performing Arts
Languages : en
Pages : 411
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Book Description
Seventies British Cinema provides a comprehensive re-evaluation of British film in the 1970s. The decade has long been written off in critical discussions as a 'doldrums' period in British cinema, perhaps because the industry, facing near economic collapse, turned to 'unacceptable' low culture genres such as sexploitation comedies or extreme horror. The contributors to this new collection argue that 1970s cinema is ripe for reappraisal: giving serious critical attention to populist genre films, they also consider the development of a British art cinema in the work of Derek Jarman and Peter Greenaway, and the beginnings of an independent sector fostered by the BFI Production Board and producers like Don Boyd. A host of highly individual directors managed to produce interesting and cinematically innovative work against the odds, from Nicolas Roeg to Ken Russell to Mike Hodges. As well as providing a historical and cinematic context for understanding Seventies cinema, the volume also features chapters addressing Hammer horror, the Carry On films, Bond films of the Roger Moore period, Jubilee and other films that responded to Punk rock; heritage cinema and case studies of key seventies films such as The Wicker Man and Straw Dogs. In all, the book provides the final missing piece in the rediscovery of British cinema's complex and protean history. Contributors: Ruth Barton, James Chapman, Ian Conrich, Wheeler Winston Dixon, Christophe Dupin, Steve Gerrard, Sheldon Hall I. Q. Hunter, James Leggott, Claire Monk, Paul Newland, Dan North, Robert Shail, Justin Smith and Sarah Street.
Author: Robert Shail
Publisher: Bloomsbury Publishing
ISBN: 1838718052
Category : Performing Arts
Languages : en
Pages : 411
Get Book Here
Book Description
Seventies British Cinema provides a comprehensive re-evaluation of British film in the 1970s. The decade has long been written off in critical discussions as a 'doldrums' period in British cinema, perhaps because the industry, facing near economic collapse, turned to 'unacceptable' low culture genres such as sexploitation comedies or extreme horror. The contributors to this new collection argue that 1970s cinema is ripe for reappraisal: giving serious critical attention to populist genre films, they also consider the development of a British art cinema in the work of Derek Jarman and Peter Greenaway, and the beginnings of an independent sector fostered by the BFI Production Board and producers like Don Boyd. A host of highly individual directors managed to produce interesting and cinematically innovative work against the odds, from Nicolas Roeg to Ken Russell to Mike Hodges. As well as providing a historical and cinematic context for understanding Seventies cinema, the volume also features chapters addressing Hammer horror, the Carry On films, Bond films of the Roger Moore period, Jubilee and other films that responded to Punk rock; heritage cinema and case studies of key seventies films such as The Wicker Man and Straw Dogs. In all, the book provides the final missing piece in the rediscovery of British cinema's complex and protean history. Contributors: Ruth Barton, James Chapman, Ian Conrich, Wheeler Winston Dixon, Christophe Dupin, Steve Gerrard, Sheldon Hall I. Q. Hunter, James Leggott, Claire Monk, Paul Newland, Dan North, Robert Shail, Justin Smith and Sarah Street.
Author: Robert Shail
Publisher: Bloomsbury Publishing
ISBN: 1838718060
Category : Performing Arts
Languages : en
Pages : 210
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Book Description
Seventies British Cinema provides a comprehensive re-evaluation of British film in the 1970s. The decade has long been written off in critical discussions as a 'doldrums' period in British cinema, perhaps because the industry, facing near economic collapse, turned to 'unacceptable' low culture genres such as sexploitation comedies or extreme horror. The contributors to this new collection argue that 1970s cinema is ripe for reappraisal: giving serious critical attention to populist genre films, they also consider the development of a British art cinema in the work of Derek Jarman and Peter Greenaway, and the beginnings of an independent sector fostered by the BFI Production Board and producers like Don Boyd. A host of highly individual directors managed to produce interesting and cinematically innovative work against the odds, from Nicolas Roeg to Ken Russell to Mike Hodges. As well as providing a historical and cinematic context for understanding Seventies cinema, the volume also features chapters addressing Hammer horror, the Carry On films, Bond films of the Roger Moore period, Jubilee and other films that responded to Punk rock; heritage cinema and case studies of key seventies films such as The Wicker Man and Straw Dogs. In all, the book provides the final missing piece in the rediscovery of British cinema's complex and protean history. Contributors: Ruth Barton, James Chapman, Ian Conrich, Wheeler Winston Dixon, Christophe Dupin, Steve Gerrard, Sheldon Hall I. Q. Hunter, James Leggott, Claire Monk, Paul Newland, Dan North, Robert Shail, Justin Smith and Sarah Street.
Author: P. Gaal-Holmes
Publisher: Springer
ISBN: 1137369388
Category : Performing Arts
Languages : en
Pages : 230
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Book Description
This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking, acting as a form of reclamation for films and filmmakers marginalized within established histories. An indispensable book for practitioners, historians and critics alike, it provides new interpretations of this rich and diverse history.
Author: Paul Moody
Publisher: Palgrave MacMillan
ISBN: 9783030069186
Category :
Languages : en
Pages : 232
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Book Description
Author: S. Barber
Publisher: Springer
ISBN: 1137305924
Category : Performing Arts
Languages : en
Pages : 234
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Book Description
Is there more to 1970s British cinema than sex, horror and James Bond? This lively account argues that this is definitely the case and explores the cultural landscape of this much maligned decade to uncover hidden gems and to explode many of the well-established myths about 1970s British film and cinema.
Author: Sue Harper
Publisher: Edinburgh University Press
ISBN: 0748654283
Category : Performing Arts
Languages : en
Pages : 337
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Book Description
This volume draws a map of British film culture in the 1970s and provides a wide-ranging history of the period.
Author: Paul Newland
Publisher: Manchester University Press
ISBN: 1526102307
Category : Social Science
Languages : en
Pages : 335
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Book Description
British films of the 1970s offers highly detailed and insightful critical analysis of a range of individual films of the period. This analysis draws upon an innovative range of critical methodologies which place the film texts within a rich variety of historical contexts. The book sets out to examine British films of the 1970s in order to get a clearer understanding of two things – the fragmentary state of the filmmaking culture of the period, and the fragmentary nature of the nation that these films represent. It argues that there is no singular narrative to be drawn about British filmmaking in the 1970s, other than the fact that these films offer evidence of a Britain (and ideas of Britishness) characterised by vicissitudes. While this was a period of struggle and instability, it was also a period of openings, of experiment, and of new ideas. Newland looks at many films, including Carry On Girls, O Lucky Man!, That'll be the Day, The Shout, and The Long Good Friday.
Author: Petra Bauer
Publisher:
ISBN: 9781907185052
Category : Feminism and motion pictures
Languages : en
Pages : 223
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Book Description
Author: Paul Moody
Publisher: Springer
ISBN: 3319948032
Category : Performing Arts
Languages : en
Pages : 224
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Book Description
This book is the first of its kind to trace the development of one of the largest and most important companies in British cinema history, EMI Films. From 1969 to its eventual demise in 1986, EMI would produce many of the key works of seventies and eighties British cinema, ranging from popular family dramas like The Railway Children (Lionel Jeffries, 1970) through to critically acclaimed arthouse successes like Britannia Hospital (Lindsay Anderson, 1982). However, EMI’s role in these productions has been recorded only marginally, as footnotes in general histories of British cinema. The reasons for this critical neglect raise important questions about the processes involved in the creation of cultural canons and the definition of national culture. This book argues that EMI’s amorphous nature as a transnational film company has led to its omission from this history and makes it an ideal subject to explore the ‘limits’ of British cinema.
Author: Sian Barber
Publisher: Cambridge Scholars Publishing
ISBN: 1443833975
Category : Performing Arts
Languages : en
Pages : 165
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Book Description
This book explores the work of the British Board of Film Censors in the 1970s. Throughout the decade this unelected organisation set standards of acceptability and determined what could and what could not be shown on British cinema screens. Controversial texts like A Clockwork Orange (1971), Straw Dogs (1971), The Devils (1971) and Life of Brian (1979) have been used to draw attention to the way in which the BBFC operated in the 1970s. While it is true to say that these films encountered major classification problems, what of the hundreds of other films being classified at the same time? Did all films struggle with the British censors in this period, and can these famous examples be fitted into broader patterns of censorship policy and practice? In studying over 250 film files from the BBFC archive, this work reveals how 1970s films such as Vampire Circus (1971), Confessions of a Window Cleaner (1974) and Carry on Emmannuelle (1978) also ran into trouble with the film censor. This work explores the complex process of negotiation and compromise which affected all film submissions in the 1970s and the way in which the BBFC actively, and often sympathetically, negotiated with film directors, producers and distributors to assign the correct category to each film. The lack of any defined formal censorship policy in this period allowed the BBFC to work alongside the film industry and push cultural, social and artistic boundaries; however it also left the Board open to accusations of favouritism, subjectivity and personal bias. This work is not simply a study of controversial films and contentious issues, but rather engages with wider issues of changing permission, legal struggles, the influence of the media and the legislative and governmental controls which both helped and hindered the BBFC in this important post-war decade. The focus on historical and archival research offers a great deal to scholars from associated disciplines including history, social policy, media and communictaions and politics.
