In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences. Competition from television and successive changes in government policy all forced the production industry to become more market-sensitive. The films produced by Rank and Ealing, many of which harked back to wartime structures of feeling, were challenged by those backed by Anglo-Amalgamated and Hammer. The latter knew how to address the rebellious feelings and growing sexual discontents of a new generation of consumers. Even the British Board of Film Censors had to adopt a more liberal attitude. The collapse of the studio system also meant that the screenwriters and the art directors had to cede creative control to a new generation of independent producers and film directors. Harper and Porter explore the effects of these social, cultural, industrial, and economic changes on 1950s British cinema.

British Cinema of the 1950s: The Decline of Deference

Humor & Entertainment

Harper,Sue

Porter, Vincent

Movies

Oxford University Press

In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences. Competition from television and successive changes in government policy all forced the production industry to become more market-sensitive. The films produced by Rank and Ealing, many of which harked back to wartime structures of feeling, were challenged by those backed by Anglo-Amalgamated and Hammer. The latter knew how to address the rebellious feelings and growing sexual discontents of a new generation of consumers. Even the British Board of Film Censors had to adopt a more liberal attitude. The collapse of the studio system also meant that the screenwriters and the art directors had to cede creative control to a new generation of independent producers and film directors. Harper and Porter explore the effects of these social, cultural, industrial, and economic changes on 1950s British cinema.

British Film Culture in the 1970s: The Boundaries of Pleasure

This volume draws a map of British film culture in the 1970s and provides a wide-ranging history of the period. It examines the cross-cultural relationship between British cinema and other media, including popular music and television. The analysis covers mainstream and experimental film cultures, identifying their production contexts and the economic, legislative and censorship constraints on British cinema throughout the decade.The essays in Part I contextualise the study and illustrate the diversity of 1970s moving image culture. In Part II, Sue Harper and Justin Smith examine how gender relations and social space were addressed in film. They show how a shared visual manner and performance style characterises this fragmented cinema, and how irony and anxiety suffuse the whole film culture. This volume charts the shifting boundaries of permission in 1970s film culture and changes in audience taste. This book is the culmination of an AHRC-funded project at the University of Portsmouth, For more information about 1970s British Cinema, Film and Video: Mainstream and Counter-Culture (2006-2009) please visit the project website at www.1970sproject.co.uk.

Smith, Justin

Edinburgh University Press

This volume draws a map of British film culture in the 1970s and provides a wide-ranging history of the period. It examines the cross-cultural relationship between British cinema and other media, including popular music and television. The analysis covers mainstream and experimental film cultures, identifying their production contexts and the economic, legislative and censorship constraints on British cinema throughout the decade.The essays in Part I contextualise the study and illustrate the diversity of 1970s moving image culture. In Part II, Sue Harper and Justin Smith examine how gender relations and social space were addressed in film. They show how a shared visual manner and performance style characterises this fragmented cinema, and how irony and anxiety suffuse the whole film culture. This volume charts the shifting boundaries of permission in 1970s film culture and changes in audience taste. This book is the culmination of an AHRC-funded project at the University of Portsmouth, For more information about 1970s British Cinema, Film and Video: Mainstream and Counter-Culture (2006-2009) please visit the project website at www.1970sproject.co.uk.

Elements of English 9

Nelson Canada Elhi

Elements of English is a complete high school English program. Each student text features units such as Literature, Media, Reference, and Language and Form. Within these units, students study a variety of short stories, poetry pieces, and drama works from Canada and around the world. Each selection is accompanied by before and after reading activities.

Elements of English 10

Foundations of English 11

Hilker, Douglas

Foundations of English 12 - Student Edition

Harcourt Canada

A survey of the ways in which women have been represented in British cinema from the 1930s to the end of the 20th century. It analyzes the input women have had on the industry, and charts the difficulties they encountered and the successes they achieved. Using a range of archive and interview material, the author raises the issues of representation and the studio system, and different types of creative control. She also establishes the historically specific nature of the social and sexual fantasies produced by the cinema. The book is written in a lively and confrontational manner and contains some swinging attacks on received opinions about women and the cinema.

Women in British Cinema: Mad, Bad, and Dangerous to Know (Rethinking British Cinema)

Continuum Intl Pub Group

This book takes a broad perspective and analyses the ways in which the British film industry has dealt with women and their creativity from 1930 to the present. The first part of the book deals comprehensively with different historical periods in British film culture, showing how the 'agency' of production company, director, distribution company or scriptwriter can bring about new patterns of female stereotyping. The second part looks at the input of women workers into the film process. It assesses the work of women in a variety of roles: directors such as Wendy Toye and Sally Potter, producers such as Betty Box, scriptwriters such as Clemence Dane and Muriel Box, costume designers such as Shirley Russell and Jocelyn Rickards, and editors and art directors. This is a polemical book which is written in a lively and often confrontational manner. It uses fresh archival material and takes energetic issue with those explanatory models of film analysis which impose easy answers onto complex material.

Women in British Cinema: Mad, Bad and Dangerous to Know (Rethinking British Cinema)

Computers & Technology

Networking & Cloud Computing

Continuum

See the best price to sell, buy, or rent books by Harper,Sue. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Harper,Sue

See the best price to sell, buy, or rent books by Harper,Sue. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

British Cinema of the 1950s: The Decline of Deference

British Cinema of the 1950s: The Decline of Deference

British Film Culture in the 1970s: The Boundaries of Pleasure

British Film Culture in the 1970s: The Boundaries of Pleasure

Elements of English 9

Elements of English 10

Foundations of English 11

Foundations of English 12 - Student Edition

Women in British Cinema: Mad, Bad, and Dangerous to Know (Rethinking British Cinema)

Women in British Cinema: Mad, Bad and Dangerous to Know (Rethinking British Cinema)