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. "

Tags:classification, cinema, war

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
Impact of youth culture & rebellious attitudes on a number of British films 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..."

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 writer compares and analyzes "Brief Encounter" and "The Pumpkin Eater" with reference to the cinema of the time, including an in-depth investigation into the film-noir style 'romance' films of the British cinema of the 1940s. The paper looks to answer the question of whether or not these romance films were actually romantic.

From the Paper
"The elements that characterize romance films are that they "center on passion, emotion and the romantic and affectionate involvement of the main characters and the journey that their love takes through courtship or marriage." They often explore the themes of "love at first sight, unrequited love, obsessive love, sentimental love, spiritual love, forbidden love, sexual and passionate love, sacrificed love, explosive and destructive love and tragic love" They usually follow the trials and tribulations of the couple as they make their way through an episode in their lives. Typically romances have a "happily ever after" ending that leaves the audience feeling fulfilled, however there are some films that it is very difficult to classify as "typical" romances even though they are undeniably romances. There are a huge stock of romantic films that are instantly forgettable but what makes a romantic film enduring is that romance is not its primary concern it has more substance a simple exploration of a straightforward relationship. Brief Encounter is one such film, generally regarded as one of the greatest love stories ever to be produced by the British cinema. It is however not a typical romance and has definite tones of film noir and so does not adhere to the conventions of romantic films. Film noir is usually takes as its subject crime or mystery but there are some that deal mainly with romance such as The Postman Always Rings Twice and Double Indemnity, both adaptations of James M. Cain novels that are "seething with lustful self destructive romantic relationships between a femme fatale and an entrapped male partner" . Another example from the British cinema of a romance disguised as something else is The Pumpkin Eater. This film purports to explore the psychological and emotional state of a woman, and is an examination of these elements of her character. Her psychological and emotional state is however intrinsically linked to her relationship with her husband Jake. Both films deal with the romantic lives of the main characters, but are both undeniably tragic and somewhat disconcerting tales of love and marriage from a female, middle class perspective."

Tags:cinema, emotion, character, perspective, affection

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
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, British films, Peter Greenaway

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
The paper explains that the idea that war films either "embrace combat" or "deny combat" really refers to the setting more than to any thematic issue; in the first, the viewer is taken into the heat of battle, while in the second, the viewer, along with the protagonist, is removed from combat. The paper examines "Went the Day Well?," a film that removes the viewer from military life but is a film that has to embrace combat at the same time because it brings the war home as a group of Germans impersonate British citizens. The paper also looks at a film like "The Deer Hunter" that also mixes the two types as much of the film takes place on the home front and then takes the audience into the middle of combat in Vietnam.

From the Paper
"The idea that war films either "embrace combat" or "deny combat" really refers to the setting more than to any thematic issue. In the first, the viewer is taken into the heat of battle, while in the second, the viewer, along with the protagonist, is removed from combat. The distinction is often not valid, as in "Went the Day Well?", a film that removes the viewer from military life but is a film that has to embrace combat at the same time because it brings the war home as a group of Germans impersonate British citizens. A film like "The Deer Hunter" also mixes the two types as much of the film takes place on the home front and then takes the audience into the middle of combat in Vietnam. The latter..."

Tags:blogs, films, reactions

Abstract
"John Grierson (1898-1972) made very few films but was one of the most influential figures in the history of documentary filmmaking. As the leader of governmental film units in Britain and the founder of the National Film Board of Canada Grierson's belief in the potential social impact of documentary films set the course for documentary themes in English-language films.

From the Paper
"John Grierson (1898-1972) made very few films but was one of the most influential figures in the history of documentary filmmaking. As the leader of governmental film units in Britain and the founder of the National Film Board of Canada Grierson's belief in the potential social impact of documentary films set the course for documentary themes in English-language films. His other major innovations were the decision to rely on institutional backing, governmental or private sector, rather than depend on box-office returns and to employ "nontheatrical distribution and exhibition" (Ellis 398). Although Grierson himself abandoned directing early on, his Drifters (1929), the remarkable beginning of the documentary movement in England, remains a vital and interesting piece of work even today and, while showing how well Grierson fulfilled his mission, raises..."