This in-depth paper examines the Britishfilmindustry 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 filmindustry 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 filmindustry'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 In this article, the writer maintains that the Britishfilmindustry often frames itself in respect to its counterpart, the American filmindustry. The writer notes that movies made in the United States typically gross larger sums than Britishfilms, a point that has long motivated the Britishfilmindustry 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."
Abstract This paper reviews the Canadian filmindustry, one that is said to be a composite of three different unique bodies that have combined to create a dynamic film environment; albeit not a uniquely Canadian one. The paper goes on to discuss how while the indigenous Canadian filmindustry is still extant it might be described as moribund at best. If not for governmental support for the indigenous filmindustry, independent Canadian film making might already be extinct. The Canadian filmindustry is relatively healthy overall but the figures indicate strictly indigenous Canadian films, outside of one or two major production houses, may suffer revenue and market difficulties in the years ahead.
Abstract This paper discusses three factors contributing to the development of the American filmindustry since 1970 The factors mentioned are the blockbuster film, corporate mergers and the surge in demand for filmed entertainment.
From the Paper "The American film industry has undergone considerable change from the 70s to the present. During the 70s audiences were offered independent films that were successful at the box office and which reflected the changing political and cultural environment ..."
Tags:filmindustry, filmmaking, studios, motion picture industry, movies, films
Abstract This essay explores what state the filmindustry was in before the Russuan Revolution. It looks at the ways in which the Bolsheviks planned on bringing Soviet Russia into the modern age and how this policy was conceived and brought about during and after the Revolution. It also explores the practical implications of these policies and how when Stalin came to power these policies changed. In this overview of the golden age of Soviet filmmaking, the writer focuses on specific policies and trends in filmmaking and production. The writer gives an understanding of the way the government controlled the means of production and distribution of film and how this affected the filmmakers in content and style. It provides an in depth look at the way the Soviet filmmakers had their films received domestically and what the peasantry actually thought and saw of the films that were made under these revolutionary policies. The writer refers to the Bolshevik policies as being utopian, or unrealistic. Despite their lofty ambitions or intentions they were unable to be fulfilled in practice.
From the Paper "The first Russian feature film was Boris Godunov (Drankov, 1907) and in making it the filmmakers realised many of the potential problems of working with this new medium. In the early films the Russians had already initiated their own style, "film story" . This was in opposition to the American and European styles which glorified drama over psychology. This marked difference in approach to film set out clearly that the Russians were able to move away from mimicry of overseas material early on in their filmmaking history. Traditional cinematic movement was replaced with "the psychological pauses of the Moscow Art Theatre" . However, despite this experimentation, the film industry in Russia before the 1917 revolution was indeed very small. Distribution of these films facilitated only to main urban centres, with the focus of the industry being in Moscow . In these early times for the film industry the hands controlling the distribution of films in Russia were foreigners, namely the French. The French cornered the market around the world, and Russia was no exception and because of their size they were able to "undersell domestic businessmen" . The French even initiated local productions to ensure that the viewing public would remain interested by seeing their own people and country on screen. Business was strong and very profitable for those who had a stake in the industry. By 1913 the Russian Empire had 1043 movie theatres much of these were concentrated in urban centres. The appetite for this new medium was very strong and its appeal was wide. Efforts were also made to take the films out into the country to the small villages, but these were always difficult undertakings. However there was money to be made, and many cashed in on the opportunities that cinema afforded."
Abstract This paper traces the history of the Japanese filmindustry beginning with its early success and subsequent failure in the face of competition from American films. The paper looks at famous Japanese film directors and their films and describes the techniques and styles used by the directors as well as their impact on the Japanese filmindustry. The paper also looks at more recent films produced by Japan's filmindustry that have received accolades and financial success in the Japanese and Western markets.
From the Paper "Although Japan is the world's second biggest movie market, analysts in film and business claim that the country's film industry is dying or dead. In the early 1960s, nearly two-thirds of the films that were popular in Japan were made in that country, while today the same percentage of films that are showing in Japan are made overseas. [1] Critics claim that the industry is not commercial enough to appeal to a broader range of viewers outside of Japan. Critics also claim that television and video games have ruined the Japanese love for their cinema, whose history is more than a century old."
Abstract This paper looks at the trendsetters and influences on the British fashion industry and in particular Mary Quant and Jean Elizabeth Muir. It evaluates how, if the present and future fashion instructors at U.K.'s universities invest the same degree of skill in teaching creative young people the ropes of fashion design, as Ms. Muir and Ms. Quant did in fine-tuning their craft, there would be some very successful and revered fashion designers working in the U.K. and around the world. It shows how these two great ladies most certainly paved the way for future fashion talent to emerge and thrive.
Outline
Introduction / Generalizations About Changes in Fashion
A Glance Backwards: the Humbling of the Old Lords of Fashion
Fashion as a Culture Industry ? Generalizations, Observations
The Financial and Political Roles Being Played Out
How many Students are Currently Pursuing a Creative Arts Education?
The BA HONS Fashion Technology Course
Where do Fashion Students find Financial Help for their Schooling?
The Fall of Culture Minister Chris Smith and rise of Tessa Jowell
The Politics of being a Minister of Culture
London's Royal College of Art ? the Kickoff of the New Fashion Designer
From the Paper "The typical middle class consumer in the UK and America, Agins continues, is more apt today to spurn the $340 rayon chenille sweater from Barney's of New York for a far more practical $25 acrylic chenille sweater from Kmart. Why? Because consumer-friendly publications like Consumer Reports (CR) began investigating and rating fashion and apparel a decade ago. For example, CR began testing different brands of clothing for durability, fiber content, and wear, and in 1997, gave its highest rating for a men's polo knit shirt to ?Honors.? Honors? It's a store brand that sold for $7.00 at Target. But it proved that the old clich?, "you get what you pay for"? is false, because also in CR's investigation were versions of the same knit shirt by Polo Ralph Lauren ($49), Tommy Hilfiger ($44), Nautica ($42) and Gap ($24). The $7 Target brand polo shirt was simply better. Therein lies symbolism of this change in fashion from elite designers to mass marketing."
This paper examines the Czech filmindustry as well as the emergence of the "Czech New Wave Movement," aptly named as it represented a break from the dominant film styles that preceded it.
Abstract This paper analyzes the history and political impact of the Czech filmindustry while focusing on the emergence of the Czech new wave movement, so called because it represented a break from the dominant film styles that preceded it. This paper details the differences and similarities between Czech new wave films and other films from the same region which yielded much insight into the characteristics and virtues of this particular movement. In order to better understand the Czech new way movement, this paper contains a brief yet concise account of the Czech filmindustry in the first half of the 20th century as it is related to Czech history as well as samplings from the social, political and economic realms. This paper also details the characteristics of the Czech new wave movement as well as relevant information regarding how the movement contrasted with what came before it.
From the Paper "Under pressure from Hitler, Czechoslovakia collapsed in 1939 and was divided into a number of separate regions with different ultimate fates. The film studios that had been built in Czechoslovakia were taken over by the German film industry, which used them mainly to produce artful yet propagandistic films to garner Nazi support throughout the 1940s. This continued until 1944, when the area was liberated by Soviet troops. A new Republic of Czechoslovakia was formed, but it was not artistically fruitful. In 1947, a communistic government was established after a coup in Czechoslovakia."
Tags: czech, film, industry, political, communism, history
This paper discusses the Canadian feature filmindustry, looking at its structure and problems while making suggestions of how to strengthen the industry.
1,125 words (approx. 4.5 pages), 5 sources, 2005, $ 44.95
Abstract This paper examines the structure of the Canadian filmindustry, some of its problems, and possible solutions that can make it a stronger, more vibrant industry. As this paper reveals, the Canadian filmindustry has historically been dominated by government agencies - the NFB and Telefilm. While not without their strong points, this paper suggests that these agencies should be eschewed in favour of more support from the private sector for Canadian film.
From the Paper "The Canadian film industry is, very quietly, an important part of the Canadian arts scene. The following paper examines the structure and operation of the Canadian film industry - chiefly by examining the structure and operation of the Canadian Film Board and Telefilm Canada - the challenges and/or problems that have and will continue to confront the Canadian film industry, and some possible action that can be taken to address these concerns."
Abstract The paper presents a brief history of the Canadian filmindustry and discusses how the English branch of Canadian cinematography continues to lack in distribution on the domestic market. The paper attempts to explain why it has been so difficult for the national industry to develop. The paper looks at various causes and examines the lack of connection Canadians have with their cultural heritage. The paper suggests that perhaps each individual's efforts to reconsider his national identity will lead to an appreciation of the indigenous filmindustry.
Outline:
A Brief History of the Canadian FilmIndustry An Attempt to Explain the Paradox
From the Paper "When talking about movies, most people's mental representation consist of the sign from the Hollywood Hills, the well known Hollywood's Walk of Fame or the glamorous Oscar ceremony which allows them to recognize their favorite actors or actresses. But how many realize that the roots of celebrities who are given the red-carpet treatment aren't exclusively American? For instance, how many cinephiles who have been touched by the story of Titanic, the renowned film that won 11 Oscars in 1998, know that its director James Cameron has Canadian origins? Furthermore, how many moviegoers have found out that contemporary cineplexes representing one of their favorite leisure destinations were invented by a Canadian?"
Abstract This paper analyzes the history of the Czech filmindustry. Under Josef Stalin, the Soviet Union adopted the theory of socialist realism as the official state formula for works of art including the cinema. Socialist realism held that the arts should glorify the political and social ideals of communism. With the death of Stalin, the development of creative ideas in the filmindustry were part of a wider growth of ideas in economics, politics, literature and the arts which made up the Czech new wave movement. This paper details the characteristics and goals of this particular movement. The Czech new wave movement gave east European filmmakers various methods for solving ideological and historical issues while looking for new way of expressing reality. This paper focuses on the career and accomplishments of prominent filmmaker Milo Forman. The movies that Milos Forman made early in his career as a director in Czechoslovakia, notably "Loves of a Blonde" and "Fireman's Ball" broke the prevailing mold of socialist realism. This paper discusses various films directed by Forman as well as the director's motivations and methods for creating both timeless and memorable films.
From the Paper "With the death of Stalin, the development of creative ideas in the film industry were part of a wider growth of ideas in economics, politics, literature, and the arts that made up the Czechoslovak Reform Movement, or the New Wave. Eastern European filmmakers were trying various ways of solving ideological and historical problems, and looking for new styles for expressing reality: metaphors were the safest way to raise these issues under the close scrutiny of government censors. In Czechoslovak cinema, the symbols were derived directly from daily life. With liberalization it became possible to comment on the horrors and absurdities of the previous decade while directors dealt more directly with the compromises and crises of daily life. Honest, patient observation and a refusal to bend reality to the demands of a narrative characterize New Wave films."
Abstract Through an examination of the history of film in America, this paper looks at the censorship and regulation of the filmindustry and argues that the need for regulation was forced upon the industry (and still is, in a way) for no other reason than that conservative elements of America felt that what the average American could see should be censored. The paper further argues that this regulation was not merely to prevent bawdiness, lewdness, or unsuitable physical actions that stimulated sexual feelings, but also to regulate the politicization of the movies.
From the Paper "Following the end of the War, while many film makers now turned to a rather "new" sophistication, there was also a very serious anti-Communist note in some movies. While the real "Red Scare" occurred in the 1950s, in 1919, for example, there was real concern that the newly Communist Russia might actually invade the U.S. "Conservative films such as The New Moon (1919) disparaged communists and communism with scenes of perfidious Bolshevik officers attacking vulnerable young women....In The Penalty...audiences saw 10,00 disgruntled foreign workers, armed with rifles and pistols, waiting to open fire on police and take over the city of San Francisco." (Ross 136). Politicians applauded these films, even though they often misrepresented actual events. This included several truly anti-Semitic films, which, under extreme political pressure, were forced to change character names and some dialogue. "Pressure from the Yiddish press and Governor Al Smith forced the producers of The Volcano to alter its blatantly anti-Semitic plot. The hero's name was changed from Garland to Nathan Levison and the hook-nosed villain was given the line: 'I am not Jew. I am a Bolshevik.!'" (Ross 141)."
Abstract This paper provides a brief discussion of the filmindustry across the following five categories: economic, political-legal, technological, and ecological, including examples of films that demonstrate how each of these areas impacts the industry.
From the Paper "The outlook for revenues from feature film production are rosy. With global annual film production of films with annual revenues exceeding ..."
Tags: digital, revenues, legislation, environment, Internet, consumers, politics, special effects, global, movies
Abstract This paper will explore the history of Hollywood from the perspective of its relationship with the filmindustry. It will examine why a particular social structure arose as a result of movie production, and how the community of Hollywood had an impact on the world. The purpose of this paper is to explain to the readers why Hollywood is a unique structure, both socially and economically, and define the reasons as to why it evolved in this manner.
Abstract This paper looks at the basic structure of the filmindustry set by eight major corporations. The paper examines the studio system and the identification of each studio with its own product, style, and stars. The paper also looks at the development of the star system.
From the Paper "At one time the term "movie studio" meant just that - a location where the company conducted its business, filmed its product, and performed the remainder of the tasks necessary to make a finished film. A studio may or may not also have had a ..."
