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."

Tags:history, heritage, film, john, hill, political, industry, thatcherism, morality, values, traditional, culture

Abstract
In this article, the writer maintains that the British film 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 British films, a point that has long motivated the British film 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 British film-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
British Film Media
Issues of Consideration in British Film
British Film 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."

Tags:production, studios, movies, blockbusters

Abstract
The paper presents a brief history of the Canadian film industry 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 film industry.

Outline:
A Brief History of the Canadian Film Industry
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?"

Tags:cinema, identity, culture, actors

Abstract
This paper analyzes the influence of American films on the British film industry, noting that since British audiences consume American films, it is logical that consumption of American-style films should follow suit. The paper also suggests that emulation of American-style films is a negativism for the British film industry in other ways. Specifically, emulation of American blockbusters reduces incentives for participants in British film to develop and refine their own unique style. This paper explores these issues.

From the Paper
"The British film industry often frames itself in respect to its counterpart, the American film industry. Movies made in the United States typically gross larger sums than British films, a point that has long motivated the British film industry to identify American movie-making as a more profitable model. However, emulation of American films by British studios has typically fallen short of projections: the British film-going..."

Tags:british, film, 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
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 British film 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."

Tags:Hollywood, America, protectionism

From the Paper
"David Lean was born in 1908 in Croydon, England of strict Quaker parents who considered attending films to be a sin. He was considered below average as a student, and his major interest was in going to the movies secretly or indulging in photography, one of his major loves. When he was still in his teens, he joined his father's accounting office as a junior clerk. When he was nineteen, he withdrew from the family firm and allowed his interest in photography and film to guide him. With the encouragement of his aunt, he went to Gainsborough Studios and took some menial and low-paying jobs to get his chance. There was an absence of unions in those days, and this enabled him to switch jobs continually depending on the needs of the different sets. He worked as a clapper boy, camera assistant, and then ... "

Abstract
The BBC is the major proprietor of the broadcasting industry in Britain. BBC television channels are supported by the television license fee which has been led to believe entitles the BBC to its own type of regulation. The paper explores and analyzes if the BBC deserves its own form of regulation or should it be regulated in the same way as other broadcasting services.

From the Paper
"The BBC was founded in 1922 and was given a complete monopoly of the broadcasting business. It evolved from a company to a corporation in 1927 with John Reith as the General Director. They worked on radio until the introduction of television in 1929. When the BBC was formed a group of governors were appointed to regulate it. They were supposed to be neutral and have no government bias, but were appointed by the government themselves. The government also set the license fee this might show that the BBC could not be separate from the government as it had claimed to be. Also the fact that the government can use the BBC in a national emergency would show that they do have control over the BBC. ?It has never been entirely free from state pressure. Its license to broadcast has always been granted for fixed periods, never in perpetuity; the state appoints its board of governors; and the state, not the BBC, determines the cost of the receiving license.?(1)"

Tags:film, john, license, media, monopoly, regulation, reith, studies, television

Abstract
This paper focuses on the intense media attention paid to Renee Zellweger during the filming of "Bridget Jones' Diary" and its sequel. This paper discusses how the tale of a woman who is obsessed with finding a man and even more obsessed with her fluctuating weight struck a chord with women around the world. This paper explores the reasons that the usually slender and American Zellweger was chosen to play the British heroine as well as the eating plan the actress followed in order to gain the weight for the film. The writer of this paper also examines the media's praise for Zellweger's weight gain and eventual loss as well as its negative impact on actresses, such as Kirstie Alley, who gain weight due to childbearing or other reasons. This paper discusses the dangerous message Hollywood is sending young women regarding what is deemed beautiful and perfect.

From the Paper
"But when Zellweger showed her newly slim physique to the world, despite her command performance as Jones, her weight loss was what drew raves, as high in quality as her acting in the role may have been. And although, Zellweger was eager to note that she hadn't shaken her alter ego off completely. "I'd be out in the cab and asking the guy in an English accent," she sighs, shaking her head. "[I say] 'brilliant, lovely,' all those things. 'Quite,' I say 'quite' a lot now ... " she was also eager to find a film to show off her return to slenderness. Her thin sculpted frame in her next release in "Chicago" assured the world that Zellweger was still capable of high glamour. Her weighty photos for one fashion magazine never made it to print, but newly slender, she graced the cover of Vogue. When an actress such as Kristie Alley, a former beauty queen, gains weight not for a role but because of age and childbearing, the world grows uncomfortable."

Tags:film, industry, weight, diet, nutrition, media, perception

Abstract
The paper presents the thesis that World War II caused the movies and Hollywood to produce pro-war films during the period before the US joined the war and propaganda films at the height of the war. The paper shows how the movie industry was in support of America's war against Nazi Germany and Imperial Japan. The paper discusses how Hollywood encouraged the war and then worked to positively bring the realization that the war was a fight between good and evil and its soldiers were heroes and defenders of democracy.

Outline:
Introduction
Thesis Support 1
Thesis Support 2
Thesis Support 3
Conclusion

From the Paper
"Moving pictures, the cinema or films are some of the terms used to describe the movies. America has been known to give birth to the motion picture industry and as such, Hollywood becomes the Mecca not only of the American film industry but set the worldwide standard as well. Hollywood and the movies have become part and parcel of the American culture and as years or decades go by, the U.S. film industry mirrored what is happening in America at a particular period and produced films that captured the lives and histories of the time. One of the pivotal moments of the American film industry is during World War II when the film genre produced pro-war support themed movies."

Tags:film, industry, Hollywood, propaganda