Abstract In this article, the writer maintains that the Britishfilm industry often frames itself in respect to its counterpart, the American film industry. The writer notes that movies made in the United States typically gross larger sums than Britishfilms, a point that has long motivated the Britishfilm industry to identify American movie-making as a more profitable model. The writer argues, however, that the emulation of American films by British studios has typically fallen short of projections: the Britishfilm-going audience, which hungrily devours American blockbusters, is surprisingly hesitant to engage in films that are made in Britain and utilize American-style plots, cinematography, acting, and special effects.
Outline:
Introduction
BritishFilm Media
Issues of Consideration in BritishFilm BritishFilm and American Film Summary
From the Paper "When this process occurs, the value of a film made by a British film studio is challenged. The outcome is problematic, as the film itself may contribute to the British film industry as a composition with significant artistic merit, but the lack of financial incentives indicates that there is a strong potential for the film to get "lost" in the cinematic archives. Films that have permanency within an audience are not necessarily those with the greatest intrinsic merit but are instead those that have had backing through a strong studio and have created a market identity through advertising, widespread distribution, and so on. A film that communicates a strong message or has profound artistic composition will not necessarily become a permanent achievement in the film industry, and for most investors and studios an obscure picture might as well have never been made."
This in-depth paper examines the Britishfilm industry during the 1980s while also focusing on the political climate in England during this same period in which the country was led by Prime Minister Margaret Thatcher.
Abstract This well-researched paper delves into the history of Britain's film industry which, according to the writer of this paper, was considered second rate in comparison to other countries including Germany, France and the U.S. This paper discusses the film industry's apparent lack of focus primarily during the 1980s, which was a direct result due to the political climate during this particular era. The writer reviews and analyzes British author John Hill's book "British Cinema in the 1980s" which provides in-depth insight to this specific topic. The writer contends and explains why British filmmakers were essentially apathetic and uncaring about Thatcherism and went on to challenge many of the country's values. This paper examines the impact of various films made in England during the 1980s including "Gandhi," "Room With a View" and "Chariots of Fire." This paper also focuses on the cultural conflicts between the older and younger generations in England which greatly impacted the types of films that were produced during at that time. The writer stresses that during the 1980s the older generation stuck by the traditional and old fashioned Victorian morality system which still exists today while the younger generation chose to adhere to a more free-flowing Edwardian type value system.
From the Paper "There were several opportunistic policies that had been passed, and there was also a growing lack of satisfaction in manual labor. Therefore, it was very evident that in Britain, even at the end of the 1960's and the beginning of the 1970's, there was indeed a large amount of class differences in English society, and society in general was divided into there major classes, which were the upper classes, the middle classes, and the working classes. The divisions were in fact brought about by the differences in wealth, power, and the types of work, the ideologies, the status, and the opportunities that were available. At the same time, this period saw a vast change in the people's attitudes towards traditions, old values, taboos, customs, and the all-pervasive parochialism, and this was the very attitude that was reflected in all the New Age films that were made during that time."
Abstract This paper discusses, identifies and defines art films, focusing specifically on British art films of the 1980s and 1990s. The paper discusses sources of funding for the films and the importance of Peter Greenaway's films. The paper also takes a look at Greenaway as a postmodern artist.
Tags:film, art cinema, Britishfilms, Peter Greenaway
Abstract Impact of youth culture & rebellious attitudes on a number of Britishfilms of the Sixties. New techniques, pop music & themes of discontent, anti-authority, new sexual permissiveness. Films analyzed include "Darling," "Alfie," Georgy Girl," "Blow-Up," "Billy Liar," & Director Richard Lester's first Beatle film "A Hard's Day Night" and other movies.
From the Paper "The rise of youth-oriented culture in Britain was reflected in, and perpetuated by, films of the 1960s. The rebelliousness of Sixties youth developed from the anger over questions of class, poverty, and opportunity that characterized the "angry-young-man" school of film, but took on a fresh pop-culture sheen when it was joined to the rejection of social mores (especially regarding the new sexual freedom) and the celebration of youth embodied in the music and fashion of this era of revived prosperity. Film directors developed flashy new techniques that became, in themselves, an important part of the 'swinging' Sixties look and sound. Films such as Billy Liar (John Schlesinger, 1963) made the connection between the stifling weight of tradition and the youthful longing for freedom. This was reflected more lightheartedly in stylistically innovative..."
This paper discusses film director John Schlesinger who, in the 1960s, was part of a new social realism in Britishfilms and a revivification of the Britishfilm industry.
Abstract This paper explains that the social realism of the early 1960s was an accidental movement in film in which numerous films were produced for and about the working class, depicting working class life in realistic and dramatic terms, rather than comic terms. The paper points out that Schlesinger depicts characters facing a crisis in their lives when forced to confront the reality of their existence in films like "Midnight Cowboy", for which he won an Oscar, and "The Falcon and the Snowman". The paper relates that Schlesinger is known for films with a careful mixture of social commentary and entertainment value, as he makes his social observations entertaining to audiences.
From the Paper "In the 1960s, film director John Schlesinger was part of a new social realism in British films and a revivification of the British film industry. Schlesinger came out of television and broke through to the world cinema with films like A Kind of Loving (1962), Billy Liar (1963), and Darling (1965), after which he began making most of his films in the United States beginning with the major success of Midnight Cowboy (1969). In his early work, Schlesinger made 26 films for the BBC, worked as second unit director on several television series, and eventually managed to make his first feature with A Kind of Loving."
Tags: feminization, cowboy, crisis, commentary, entertainment
Abstract This paper argues that the British Board of Film Censors (BBFC) was consistent with the role it took upon itself and the rules it created throughout its existence. In particular, it focuses on how the British war films of the early 50s were a necessary psychological stage to go through, in order to enable the films of the mid-50s and late-60s to deal with other content.
From the Paper "Weighting the impact of relaxation of censorship on the content of British films in a given period cannot be attempted without establishing which were the censorship rules, how they were applied to film prior, during and post the given era, then compare the content of the films in the three categories. Only once this process finished, it might be possible to check whether there exists cause-and-effect relations between the content of the films in the given era and a possible relaxation of the censorship. "
Abstract The paper portrays how, despite considerable recent inroads into the film industry by other nations and by the independent film movement, 'Hollywood' and 'America' remain synonymous in many movie-going minds with the cinemas and movies. The paper discusses the contributions of the Britishfilm industry and why America remains the leader. The paper describes a pattern of establishing success in England and then moving onto better-funded Hollywood that has remained up until this day, for both actors and directors. The paper concludes that although protectionism from the government may not be the answer, better funding may be the only way for England to compete on equal terms with America's cinema industry.
From the Paper "Although Great Britain produced many films during the early days of silent film shorts, the 1920s British film indusry experienced a recession caused by the influx of superior United States comedies, as well as American business practices. The Cinemotograph Film Act of 1927, introduced to bolster the national film industry in Great Britian, required that UK cinemas show a certain percentage of British films for a duration of ten years."
Abstract The paper presents three film essays that elaborate on how each film is either representative or not of the historical era it depicts. Films under consideration are: "The Last of the Mohicans", "Little Women" and "The Crucible".
From the Paper "The Last of the Mohicans directed by George B Seitz and starring Randolph Scott is a film based on James Fenimore Cooper's novel of the same name. The film revolves around William Pitt's efforts to persuade George II to expel ...'
Tags: The Last of the Mohicans, British, Frontier, Native Americans, Little Women, marriage, romance, Civil War, The Crucible, witch hunts, communism, McCarthy, Puritans
Abstract This paper critiques the war film "The Patriot" starring Mel Gibson and explains why the historical message in the film is not an accurate account of the war. The paper points out that "The Patriot" is, in fact, nothing more than a standard revenge tale that uses the Revolutionary War as a backdrop.
From the Paper "Mel Gibson's character in The Patriot appears to have been based on the real-life Revolutionary War figure of Brigadier General Francis Marion, whose trademark use of swamps and bogs to evade being captured by the British garnered him the nickname of "The Swamp Fox." But when historians like Bart McDowell point out that Marion "was an avowed racist who hunted American natives for sport and often raped his own slaves"
(145), it is easy to understand why director Emmerich renamed his main protagonist in order to avoid controversy. Unfortunately, as previously stated, The Patriot is replete with historical inaccuracies, a fact due in part to the very nature of filmmaking which at times underplays historical and factual realities, a reflection of what is known as "literary license" where "the screenwriter inserts false premises and events into the story in order to intensify the plotline and the overall action" (Dennison 36). "
Tags: benjamin, martin, french, indian, american, independence, revolutionary, rebels, british
From the Paper "While it may be debated for years to come if the term auteur belongs to Hitchcock, it will never be debated that he was a genius in his own right. And if being an auteur means that one exerts much control over his films, it is impossible to contradict the fact that Hitchcock, did indeed, show an unprecedented amount of control in each of his films. If the argument is to be sound, a closer examination of the meaning of auteur might be recognized.Hitchcock was a genius of film and art. His work was revolutionary and gave inspiration to many other filmmakers. His unwavering discipline of creating the best works proves him to be one of the best filmmakers in history. No doubt, his work will be debated and discussed for centuries to come. "
Abstract The paper analyzes four films for the emotions that are conveyed through the characters and the experiences which they endure: "Lion of the Desert," "Bound by Honor," "Beloved" and "Anna and the King."
From the Paper "In the film Beloved director Jonathan Demme provides us with myriad emotions based on the horrific nature of slavery in U S society. Slavery was politically economically and socially justified and accepted during the ..."
Tags: slavery, prejudice, culture, values, racism, war, Latinos, Italy, Libya, Far East, customs, British, love, hatred, pain
Abstract The military history of British involvement in India began, fully, in 1857 when Indian forces staged a revolt against the British East India Company. The Indian army began as an indigenous force run by British officers. The British role in India, far surpassed the history of British Imperialism anywhere else in the world.
Abstract This paper explains that both excerpts from C.S. Giscombe's "Into and Out of Dislocation" and Peter Hudson's "Natural Histories of Southwestern British Columbia" discuss black history in British Columbia. The author points out that the two writers' styles are utterly different. The paper relates that Giscombe simultaneously relates the history of his travels in British Columbia and the history of John Robert Giscome, a man who was possibly one of Giscombe's ancestors.
From the Paper "On the face of it, the excerpts from C.S. Giscombe's Into and Out of Dislocation and Peter Hudson's Natural Histories of Southwestern British Columbia seem to have little in common. Certainly, the two authors' styles are utterly different. However, closer analysis reveals many similarities between the two excerpts. The first and most obvious similarity is that both men have as their subject matter history - specifically, black history in British Columbia. Giscombe simultaneously relates the history of his travels in British Columbia and the history of John Robert Giscome, a man who was possibly one of Giscombe's ancestors."
Abstract This essay focuses on British Soap Opera and its conventions. It gives a brief history of the soap opera genre and it origins. It gives examples of current and past british soap operas and their popularity and reasons for it. It also looks at theories of audience enjoyment and uses for such media.
From the Paper "The soap opera genre originates from the American radio serials of the 1930's so called because of their sponsorship by major soap powder companies. Due to its incredible success the genre grew and by the 1950's it had developed into television productions. The first soap to be televised in Britain was The Groves, which first aired in 1954 and lasted for three years. It was followed by what is now the longest running and most successful soap in Britain, Coronation Street. Rival terrestrial channels soon picked up on the success of Coronation Street (and the soap opera genre in general), this resulted in the arrival of Channel 4's Brookside in 1982, followed by the BBC's EastEnders in 1986."
Tags: conventions, eastenders, genre, soap, television, viewing, opera, British, BBC
Abstract This paper considers the globalization of and relationships within British Airways. It explores the international strategic challenges the company faces in the financial sector. The paper offers an overview of the airline industry of British Airway's position in the industry. The author also includes schematic representation.
From the Paper "The airline industry is one of the most heavily regulated industries in the world with some governments actively subsidizing their nation's air carriers and other government ..."
