Download British Cinema of the 1950s: The Decline of Deference by Sue Harper PDF

By Sue Harper

During this definitive and long-awaited heritage of Nineteen Fifties British cinema, Sue Harper and Vincent Porter draw largely on formerly unknown archive fabric to chart the transforming into rejection of post-war deference via either filmmakers and cinema audiences. Harper and Porter discover the consequences of social, cultural, and monetary swap at the Fifties movie in Britain, having a look particularly on the effect of the increase of tv, successive alterations in govt coverage, and the cave in of the studio approach.

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It is not “native”. ’20 But Box, who already had a burgeoning reputation as an efficient and successful producer, persuaded Earl St John to stand up to Balcon, which he did, pointing out that there was no British character in Hamlet either. 21 Another dispute arose over Malta Story (1953), which had initially been suggested by the Labour Government’s Central Office of Information and was designed to highlight the co-operation of the three armed services during the war. 22 After conducting research in Malta, Dickinson decided that they should subordinate fiction 2.

16 In practice, the scheme was not as benevolent as Balcon implied. Rank and the NFFC had quite separate ambitions. Whereas the NFFC was looking for capital to back independent producers and to augment its fast-shrinking reserves, Rank and Davis were looking for potentially profitable films for which the NFFC would put up the riskiest end money. Moreover, there was no love lost between Rank and the Labour Government. 19 In practice, there was little difference between the two categories. Although in theory it was the producer/director teams who decided which stories to film, ultimately it was Rank and Davis who decided which projects to back.

20 But Box, who already had a burgeoning reputation as an efficient and successful producer, persuaded Earl St John to stand up to Balcon, which he did, pointing out that there was no British character in Hamlet either. 21 Another dispute arose over Malta Story (1953), which had initially been suggested by the Labour Government’s Central Office of Information and was designed to highlight the co-operation of the three armed services during the war. 22 After conducting research in Malta, Dickinson decided that they should subordinate fiction 2.

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