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This monograph offers the first ever comprehensive study of Channel 4's film production, distribution and broadcasting activities and represents a significant contribution to British cinema and television history. The importance of Channel 4 to the British film industry over the last 40 years cannot be overstated. The birth of the Channel in 1982 heralded a convergence between the UK film and television sectors which was particularly notable given that the two industries had historically been at loggerheads. In addition to its role as a broadcaster and curator of feature film programming, since its inception Channel 4 has funded or co-funded hundreds of feature films through its film commissioning arm, Film4. The Channel's commitment to financing between 15-20 films per year helped form the backbone of the ailing film sector throughout the 1980s and early 1990s, while Film4 funding has also been instrumental to the success of many companies which have become vital to the British film industry.
Undertaking a thorough and timely investigation of the relationship between television and cinema in Britain since 1990, Hannah Andrews explores the convergence between the two forms, at industrial, cultural and intermedial levels, and the ways in which the media have also been distinguished from one another through discourse and presentation.
"The Cinema of Ken Loach: Art in the Service of the People examines the linking of art and politics that distinguishes the work of this leading British film director. Loach's films manifest recurrent themes over a long period of working with various collaborators, yet his handling of those themes has changed throughout his career. This book examines those changes as a way of reaching an understanding of Loach's style and meaning. It evaluates how Loach incorporates his political beliefs and those of his writers into his work and augments this thematic interpretation with contextual information gleaned from original archive research and new interviews."--BOOK JACKET.
The most complete, reliable and comprehensive reference book on below-the-line crew for motion pictures.
A guide to directors who have worked in the British and Irish film industries between 1895 and 2005. Each of its 980 entries on individuals directors gives a resume of the director's career, evaluates their achievements and provides a complete filmography. It is useful for those interested in film-making in Britain and Ireland.
Frances C. Galt explores the role of trade unions and women’s activism in the British film and television industries in this important contribution to debates around gender inequality. The book traces the influence of the union for technicians and other behind-the-camera workers and examines the relationship between gender and class in the labour movement. Drawing on previously unseen archival material and oral history interviews with activists, it casts new light on women’s experiences of union participation and feminism over nine decades. As concerns about the gender pay gap, women’s rights and harassment continue, it assesses historical progress and points the way to further change in film and TV.
From the alien worlds of Star Trek to the realistic operating room of ER, the design of sets and costumes contributes not only to the look and mood of television shows, but even more importantly to the creation of memorable characters. Yet, until now, this crucial aspect of television creativity has received little critical attention, despite the ongoing interest in production design within the closely allied discipline of film studies. In this book, Piers Britton and Simon Barker offer a first analytical study of scenic and costume design for television drama series. They focus on three enduringly popular series of the 1960s—The Avengers, The Prisoner, and Doctor Who—and discuss such topics as the sartorial image of Steed in The Avengers, the juxtaposition of picturesque and fascistic architecture in The Prisoner, and the evolution of the high-tech interior of Doctor Who's TARDIS. Interviews with the series' original designers and reproductions of their original drawings complement the authors' analysis, which sheds new light on a variety of issues, from the discourse of fashion to that of the heritage industry, notions of "Pop" and retro, and the cultural preoccupation with realism and virtual reality.
This book offers a comprehensive and revisionist overview of British cinema as, on the one hand, a commercial entertainment industry and, on the other, a series of institutions centred on economics, funding and relations to government.