The Routledge Companion to British Cinema History

1. Auflage 2020
ISBN: 978-0-367-58138-1
Verlag: Routledge

Buch, Englisch, 472 Seiten, Format (B × H): 174 mm x 246 mm, Gewicht: 837 g

Reihe: Routledge Media and Cultural Studies Companions

Over 39 chapters The Routledge Companion to British Cinema History offers a comprehensive and revisionist overview of British cinema as, on the one hand, a commercial entertainment industry and, on the other, a series of institutions centred on economics, funding and relations to government.

Whereas most histories of British cinema focus on directors, stars, genres and themes, this Companion explores the forces enabling and constraining the films’ production, distribution, exhibition, and reception contexts from the late nineteenth century to the present day.

The contributors provide a wealth of empirical and archive-based scholarship that draws on insider perspectives of key film institutions and illuminates aspects of British film culture that have been neglected or marginalized, such as the watch committee system, the Eady Levy, the rise of the multiplex and film festivals.

It also places emphasis on areas where scholarship has either been especially productive and influential, such as in early and silent cinema, or promoted new approaches, such as audience and memory studies.

Zielgruppe

Postgraduate and Undergraduate

Autoren/Hrsg.

Hunter, I. Q.

Porter, Laraine

Smith, Justin

Fachgebiete

• Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften
• Sozialwissenschaften Soziologie | Soziale Arbeit Spezielle Soziologie Mediensoziologie

Inhaltsverzeichnis

Introduction PART ONE - BRTISH SILENT CINEMA TO THE COMING OF SOUND: 1895 - 1930 1 The origins of British cinema, 1895 – 1918 2 "Temporary American citizens": British cinema in the 1920s 3 "King of cameramen": Jack Cox and British cinematography in the silent era 4 Designing the silent British film 5 Stardom in silent cinema 6 The view from the pit: British silent cinema and the coming of sound 7 The talkies come to Britain: British silent cinema and the transition to sound, 1928 - 1930 8 The Tudor Cinema, Leicester: a local case study 9 The rise of the Film Society movement PART TWO - The classic period: 1930 - 1980 10 Make-believe and realism in British film production: from the coming of sound to the abolition of the National Film Finance Corporation 11 Local film censorship: the watch committee system 12 Producers and moguls in the British film industry, 1930-1980 13 Émigrés in classic British cinema 14 "Out of the frying pan, into the fire": British documentary, 1945 - 1952 15 "Above and beyond everyday life": the rise and fall of Rank’s contract artists of the 1950s 16 "A friend to every exhibitor": National Screen Service and the British trailer industry 17 The Eady Levy, "the envy of most other European nations": runaway productions and the British Film Fund in the Early 1960s 18 The Children’s Film Foundation 19 "As long as indifferent sexy films are box office they will abound": The Jacey cinema chain and independent distribution and exhibition in 1960s Britain 20 Cinema and the age of television, 1950-1970 21 The BBFC and the apparatus of censorship 22 The British Film Institute: between culture and industry 23 Trades unions and the British film industry, 1930s–1980s 24 The public film archives and the evolving challenge of screen heritage preservation in the UK 25 Good of its kind? British film journalism PART THREE - Contemporary British Cinema: 1980 to the present 26 Cult films in British cinema and film culture 27 The Scala Cinema: a case study 28 Underground filmmaking: British Super 8 in the 1980s 29 The rise of the multiplex 30 Rewind, playback: re-viewing the "video boom" in Britain 31 The rise and fall of practically everyone? The independent British film production sector from the 1980s to the present 32 From Film Four to the Film Council: film policy, subsidy and sponsorship, and the relationship between cinema and TV, 1980-2010 33 The architects of BBC Films 34 The UKFC and the Regional Screen Agencies 35 Hollywood blockbusters and UK production today 36 Distributing British cinema 37 Memories of British cinema 38 From Lerwick to Leicester Square: UK film festivals and why they matter 39 Crowdfunding independence: British cinema and digital production/distribution platforms

Über Autor(innen)

I.Q. Hunter is Professor of Film Studies at De Montfort University, UK. He is the author of British Trash Cinema (2013) and Cult Film as a Guide to Life (2016), editor of British Science Fiction Cinema (1999) and co-editor with Laraine Porter of British Comedy Cinema (2012).

Laraine Porter is a Senior Lecturer in Film Studies at De Montfort University, UK. She was Director of the Broadway Media Centre in Nottingham for ten years between 1998 and 2008 and is the co-founder and director of the British Silent Film Festival. She is currently the Principal Investigator on a major three-year AHRC-funded project researching the transition between silent and sound cinema in the UK.

Justin Smith is Professor of Media Industries at the University of Portsmouth, UK. He is the author of Withnail and Us: Cult Films and Film Cults in British Cinema (2010), and, with Sue Harper, British Film Culture in the 1970s: The Boundaries of Pleasure (2011). He is Principal Investigator on the AHRC-funded project Fifty Years of British Music Video (2015-17).