The Hollywood Feature Film in Postwar Britain

First Published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

Author: Paul Swann

Publisher: Routledge Library Editions: Cinema

ISBN: 9781138989436


Page: 184

View: 295

When this book was originally published in 1987, the American feature film had been colonising the world¿s imagination for over 75 years and the book studies that experience in Britain, where American films have always dominated cinema screens, both commercially and intellectually. The timeframe is the decade after the Second World War: this was a time when the British accommodated themselves to a declining role in world affairs and became in many respects a client nation of the United States. Part of this changing status was tied to the manner in which American popular culture was rapidly assimilated into Britain¿s own indigenous traditional folk and popular cultures. The American feature film, arguably the most influential, and certainly the most pervasive, of these mass forms, was part of this process of cultural exchange.

The British Working Class in Postwar Film

The Hollywood Feature Film in Postwar Britain ( New York : St Martin's Press , 1987 ) . Taylor , Philip M. ( ed . ) . Britain and the Cinema in the Second World War ( Basingstoke and London : Macmillan , 1988 ) . Thumim , Janet .

Author: Philip Gillett

Publisher: Manchester University Press

ISBN: 9780719062582

Category: Business & Economics

Page: 244

View: 882

Using a sociological model, The British Working Class in Postwar Film looks at how working-class people are portrayed in British feature films from the decade after World War II. Original statistical data is used to assess the popularity of the films with audiences. With an interdisciplinary approach and the avoidance of jargon, this book seeks to broaden the approach to film studies. Readers are introduced to the skills of other disciplines, while sociologists and historians are encouraged to consider the value of film evidence in their own fields.

The Film Cultures Reader

spectacle, stardom has always been a characteristic closely tied to the American feature film. (Swann 1987: 69) For audiences in Britain, the Hollywood star system was in another league from the British film industry.

Author: Graeme Turner

Publisher: Psychology Press

ISBN: 0415252814

Category: Performing Arts

Page: 550

View: 866

This companion reader to Film as Social Practicebrings together key writings on contemporary cinema, exploring film as a social and cultural phenomenon.

British Culture of the Post War

Swann, P.(1987) The Hollywood Feature Film in Postwar Britain, London: Croom Helm. Walsh, M.(1993) 'Allegories of Thatcherism: the films of Peter Greenaway', in L. Friedman (ed.), British Cinema and Thatcherism: Fires Were Started, ...

Author: Alastair Davies

Publisher: Routledge

ISBN: 1135100152

Category: Literary Criticism

Page: 246

View: 840

From Angus Wilson to Pat Barker and Salman Rushdie, British Culture of the Post-War is an ideal starting point for those studying cultural developments in Britain of recent years. Chapters on individual people and art forms give a clear and concise overview of the progression of different genres. They also discuss the wider issues of Britain's relationship with America and Europe, and the idea of Britishness. Each section is introduced with a short discussion of the major historical events of the period. Read as a whole, British Culture of the Postwar will give students a comprehensive introduction to this turbulent and exciting period, and a greater understanding of the cultural production arising from it.

British TV and Film Culture in the 1950s

Spigel, Lynn (1997), 'The Suburban Home Companion: Television and the Neighbourhood Ideal in Postwar America', in Charlotte Brunsdon, ... Swann, Paul (1987), The Hollywood Feature Film in Postwar Britain (London, Croom Helm).

Author: Su Holmes

Publisher: Intellect Books

ISBN: 1841509213

Category: Business & Economics

Page: 273

View: 840

This book focuses on the emerging historical relations between British television and film culture in the 1950s. Drawing upon archival research, it does this by exploring the development of the early cinema programme on television - principally Current Release (BBC, 1952-3), Picture Parade (BBC, 1956) and Film Fanfare (ABC, 1956-7) - and argues that it was these texts which played the central role in the developing relations between the media. Particularly when it comes to Britain, the early co-existence of television and cinema has been seen as hostile and antagonistic, but in situating these programmes within the contexts of their institutional production, aesthetic construction and reception, the book aims to ‘reconstruct’ television’s coverage of the cinema as crucial to the fabric of British film and television culture at the time. It demonstrates how the roles of cinema and television - as media industries and cultural forms, but crucially as sites of screen entertainment - effectively came together at this time in such a way that is unique to this decade.

Science Fiction Cinema and 1950s Britain

Andrew Tudor, Monsters and Mad Scientists: A Cultural History of the Horror Movie (Oxford: Basil Blackwell, 1989), 18. M. Keith Booker, Monsters, Mushroom Clouds and the Cold ... Swann, The Hollywood Feature Film in Postwar Britain, 6.

Author: Matthew Jones

Publisher: Bloomsbury Publishing USA

ISBN: 1501322567

Category: Performing Arts

Page: 241

View: 709

For the last sixty years discussion of 1950s science fiction cinema has been dominated by claims that the genre reflected US paranoia about Soviet brainwashing and the nuclear bomb. However, classic films, such as Invasion of the Body Snatchers (1956) and It Came from Outer Space (1953), and less familiar productions, such as It! The Terror from Beyond Space (1958), were regularly exported to countries across the world. The histories of their encounters with foreign audiences have not yet been told. Science Fiction Cinema and 1950s Britain begins this task by recounting the story of 1950s British cinema-goers and the aliens and monsters they watched on the silver screen. Drawing on extensive archival research, Matthew Jones makes an exciting and important intervention by locating American science fiction films alongside their domestic counterparts in their British contexts of release and reception. He offers a radical reassessment of the genre, demonstrating for the first time that in Britain, which was a significant market for and producer of science fiction, these films gave voice to different fears than they did in America. While Americans experienced an economic boom, low immigration and the conferring of statehood on Alaska and Hawaii, Britons worried about economic uncertainty, mass immigration and the dissolution of the Empire. Science Fiction Cinema and 1950s Britain uses these and other differences between the British and American experiences of the 1950s to tell a new history of the decade's science fiction cinema, exploring for the first time the ways in which the genre came to mean something unique to Britons.

Forgotten British Film

1 Vincent Porter, “The Robert Clark account: films released in Britain by Associated British Pictures, British Lion, MGM, and Warner Bros., ... Paul Swann, The Hollywood Feature Film in Postwar Britain (New York: St Martin's, 1987), 94.

Author: Philip Gillett

Publisher: Cambridge Scholars Publishing

ISBN: 1443891851

Category: Performing Arts

Page: 245

View: 531

Some films are remembered long after they are released; others are soon forgotten, but do they deserve oblivion? Are factors other than quality involved? This book exhumes some of the films released in Britain over the last seventy years from Daybreak (1948) to 16 Years of Alcohol (2003), and considers the reasons for their neglect. As well as exploring the contributions of those involved in making the films, the book examines such issues as marketing and the response of critics and audiences. Films are grouped loosely into categories such as “B” films and television films. Some works were little seen when they were first released and have stayed that way; others were popular in their day, but have slipped into obscurity. In some cases, social change has overtaken them, making the attitudes or subjects they depict seem dated. Even being released as a DVD does not guarantee that a title will be rehabilitated. In addition, how significant is the American market? This book should appeal to lovers of British film, as well as to film studies students and everybody curious about the vagaries of success and failure in the arts.

British Genres

Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York: Random House, 1981. ... Best of British: A Celebration of Rank Film Classics. London: Sphere Books, 1987. ... The Hollywood Feature Film in Postwar Britain.

Author: Marcia Landy

Publisher: Princeton University Press

ISBN: 1400862183

Category: Art

Page: 592

View: 158

In this unprecedented survey of British cinema from the 1930s to the New Wave of the 1960s, Marcia Landy explores how cinematic representation and social history converge. Landy focuses on the genre film, a product of British mass culture often dismissed by critics as "unrealistic," showing that in England such cinema subtly dramatized unresolved cultural conflicts and was, in fact, more popular than critics have claimed. Her discussion covers hundreds of works--including historical films, films of empire, war films, melodrama, comedy, science-fiction, horror, and social problem films--and reveals their relation to changing attitudes toward class, race, national identity, sexuality, and gender. Landy begins by describing the status and value of genre theory, then provides a history of British film production that illuminates the politics and personalities connected with the major studios. In vivid accounts of the films within each genre, she analyzes styles, codes, and conventions to show how the films negotiate history, fantasy, and lived experience. Throughout Landy creates a dynamic sense of genre and of how the genres shape, not merely reflect, cultural conflicts. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Cinemas and Cinema Going in the United Kingdom Decades of Decline 1945 65

By looking beyond, but not ignoring, Belfast's sectarian divisions, we can assess how post-war changes affected everyday leisure ... 30 P. Swann, The Hollywood Feature Film in Postwar Britain (London, 1987); M. Glancy, Hollywood and the ...

Author: Sam Manning

Publisher: University of London Press

ISBN: 1912702363

Category: History

Page: 252

View: 230

Cinema-going was the most popular commercial leisure activity in the first half of the twentieth century, peaking in 1946 with 1.6 billion recorded admissions. Though ‘going to the pictures’ remained a popular pastime, the transition to peacetime altered citizens’ leisure habits. During the 1950s increased affluence, the growth of television ownership and the diversification of leisure led to rapid declines in attendance. Cinema attendances fell in all regions, but the speed, nature and extent of decline varied widely across the United Kingdom. By linking national developments to detailed case studies of Belfast and Sheffield, this book adds nuance to our understanding of regional variations in film exhibition, audience habits and cinema-going experiences during a period of profound social and cultural change. Drawing on a wide range of quantitative and qualitative sources, Cinema and Cinema-Going conveys the diverse nature of this important industry, and the significance of place as a determinant of film attendance in post-war Britain.

J Arthur Rank and the British Film Industry

Perry, George, The Great British Picture Show, London, 1985. Petrie, Duncan, J ., Creativity and Constraint in the British Film Industry, London, 1991. ... Swann, Paul, The Hollywood Feature Film in Post-War Britain, London, 1987.

Author: Macnab

Publisher: Routledge

ISBN: 1135087202

Category: Social Science

Page: 320

View: 258

Presiding over the "golden era" of the British Film Industry from the mid to late 1940s, J. Arthur Rank financed movies such as Oliver Twist, The Red Shoes, Brief Encounter, Caesar and Cleopatra and Black Narcissus. Never before, and never since, has the industry risen to such heights. J. Arthur Rank charts every aspect of the robust film culture that Rank helped to create. Having started out with relatively little knowledge of the cinema, Rank's sponsorship was to bring about astounding progress within the industry, and by establishing an organization comparable in size to any of the major Hollywood studios, Rank briefly managed to reconcile and consolidate the competing demands of "art" and "business" - an achievement very much absent from today's diminished and fragmented film industry. Macnab goes on to explain the eventual collapse of the Rank experiment amidst the economic and political maelstrom of post-war Britain, highlighting the problems still facing the industry today. By meshing archival research with interviews with Rank's contemporaries and members of his family, this definitive study firmly restores Rank to his rightful place at the hub of British film history.