Sixties British Cinema Reconsidered

"Challenging assumptions around Sixties stardom, the book focuses on creative collaboration and the contribution of production personnel beyond the director, and discusses how cultural change is reflected in both film style and cinematic themes."--Publisher description.

This collection of exciting new research on British cinema of the 1960s reconsiders and reframes the film culture that emerged from that tumultuous decade. Challenging assumptions around Sixties stardom, the book focuses on creative collaboration and the contribution of production personnel beyond the director, and discusses how cultural change is reflected in both film style and cinematic themes. With perspectives and insights from established scholars and new critical voices, Sixties British Cinema Reconsidered draws on under-explored archival resources to explore four key research areas: stars and stardom; creative collaborations in filmmaking; developments in genre and film style; and how the cinema of the period both responded and contributed to social and cultural transformation in the 1960s.

The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

Since its inception, 007 has captured the hearts of a worldwide audience, and the franchise is now available over multiple media platforms, including movie, comic strips, games, graphic novels and fashion statements. This edited collection examines the role that gender has played across the platforms that the James Bond franchise now occupies.

The fallout from Brexit and Covid-19, ongoing political turmoil, economic decline and calls for a second Scottish independence referendum make for deeply uncertain times in contemporary Britain. What will the country look like in five years from now? Will it even exist in its present form? Introducing you to all aspects of British history, geography, society, politics, economy and culture, this book guides you through the country's enduring features and recent trends: -Growing racial, religious, national and cultural diversity -Demographic shifts, including the move from a welfare state to a stakeholder society -The altered balance of power among government institutions, as the UK adapts to life outside the EU -Shifts in economic policy, following the impact of Brexit, Covid-19 and the war in Ukraine -Changing voter attitudes, with questions raised about the balance between the major political parties -The impact of social media and alternative communications channels on media, culture and politics. With key data, further reading suggestions and case studies on topics such as attitudes towards the monarchy, regional inequalities and national cuisine, Contemporary Britain is the ideal introduction for students and interested general readers alike.

Ealing Revisited provides a major reappraisal of one of British cinema's best-loved institutions, Ealing Studios. During its heyday, Ealing produced a string of classic comedies, including Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951) and The Ladykillers (1955), but there is much more to Ealing than these films, as this volume of new writing on the studio shows. Addressing both known and less familiar aspects of Ealing's story, its films, actors and technicians, the contributors uncover what has gone unexplored, or unspoken, in previous histories of the studio, and consider the impact that Ealing has had on British cultural life from the 1930s to the present. Listed in the Independent on Sunday's Cinema books of 2012 http://www.independent.co.uk/arts-entertainment/books/reviews/ios-books-of-the-year-2012-cinema-8373713.html

Inside the Black Box of ‘White Backlash’ researches the contents of the letters of support sent to British politician Enoch Powell in the wake of his so-called ‘Rivers of Blood’ speech of April 20, 1968. Never has a politician received so much written support in so short a time. This book takes a thematic approach to investigate the way British whites used Powell’s speech to vent their frustrations, anger, hostility against (non-white) immigrants and the evolution of British society in the late 1960s. Each chapter unpacks one facet of a 10,000-letter sample, out of the approximately 100,000 letters Powell received: Race, State, War, Empire, America, Class, Gender, Elites, Parties, ‘Against’ - with this last chapter analysing letters of protest against Powell. This extraordinary archival material provides an altogether unique window into British society in the late 1960s and reads like a (white) anthropology of nativist Britons in times of swift change. The book will be of interest to both students and academics of race, immigration and ethnicity, as well as by the general public.

This book examines how representations of African in the Anglophone West have changed in the post-imperial age. The period since the Second World War has seen profound changes in sub-Saharan Africa, notably because of decolonization, the creation of independent nation-states and the transformation of the relationships with the West. Using a range of case studies from news media, maps, popular culture, film and TV the contributions assess how narrative and counter-narratives have developed and been received by their audiences in light of these changes. Examining the overlapping areas between media representations and historical events, this book will be of interest to students and scholars of African Studies and Media and Cultural Studies.

Over half a century on, the 1960s continue to generate strong intellectual and emotional responses - both positive and negative - and this is no less true in the arena of film. Making substantial use of new and underexplored archive resources that provide a wealth of information and insight on the period in question, this book offers a fresh perspective on the major resurgence of creativity and international appeal experienced by British cinema in that dramatic decade. Transformation and Tradition in 1960s British Cinema is the first scholarly volume on this period of British cinema for more than twenty-five years. It provides a major reconsideration of the period by focusing on the central tensions and contradiction between novelty/revolution and continuity/tradition during what remains a highly contentious period of cultural production and consumption.

Making substantial use of new and underexplored archive resources that provide a wealth of information and insight on the period in question, this book offers a fresh perspective on the major resurgence of creativity and international appeal experienced by British cinema in the 1960s

This book is about the British film-maker Lindsay Anderson. Anderson was a highly influential personality within British cinema, mostly famous for landmark films like This Sporting Life (1963) and If....(1968). Lindsay Anderson Revisited deals primarily with hitherto unexplored aspects of his career: his biographical background in the British upper class, his devoted film criticism, and his angry relationship to contemporary society in general. Thus, the book contains chapters about his childhood in India, his writings about John Ford, his relationship to French star Serge Reggiani, his work on TV in the 1950s, his troubles with the British film establishment, and his gradually emerging preoccupation with being Scottish, not English. Also featured are chapters written by close friends of Anderson, who died in 1994, dwelling on his penchant for controversy and quarrel, but also on his remarkable artistic talent and commitment.

Tony Richardson's A Taste of Honey (1961) is a multi-award-winning landmark film in British cinema history and one of the few key films of the British New Wave to have be written by a woman (Shelagh Delaney, adapting her own stage play). Melanie Williams' study explores the many ways in which A Taste of Honey was innovative. It was one of the first films to be made almost entirely on location, its Salford, Manchester and Blackpool exteriors and interiors perfectly curated by production designer Ralph Brinton. It was shot by Walter Lassally in a style liberated from previous orthodoxies about good cinematography and was poetically assembled by visionary editor Anthony Gibbs. The film also launched a wholly new kind of female star in Rita Tushingham, and introducing new faces to British cinema, including Murray Melvin, Paul Danquah, and Robert Stephens. Perhaps most innovatively of all, it boldly but un-sensationally explored class, place, gender, age, ethnicity, sexuality, maternity, and their various intersections at this key moment in post-war British history. Teenage playwright Delaney's strikingly original dramatic vision was sympathetically rendered on screen by Tony Richardson, in perhaps the finest and most fully realised of all his films, and certainly among the finest achievements of the British New Wave he helped to instigate.

In the 1960s, British cinema began re-thinking the masculinist ideology and tried to portray a new type of decentered man. To illustrate this theory, the author analyzes several key films of this period, including Lawrence of Arabia, The Loneliness of the Long Distance Runner, and The Hill.

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An account of the career and achievement of an important director, as well as the first full-length critical study of Jack Clayton's work. Contains new material on Clayton's many unrealised projects, plus his previously unpublished short story "The enchantment."