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Virtual Production (VP) has seen enormous growth in the last few years. The technology enables filmmakers to project locations onto a giant LED wall backdrop in a studio space, providing a photorealistic setting at the click of a button. Exciting though these developments are for the industry, our governments need to explore and understand what the trend away from traditional filmmaking may mean. There could be some hidden consequences that impact upon existing policy objectives. This paper focuses specifically upon the potential challenges that regional filmmaking may face as a result of VP; including a loss of production revenue in the local economy, possible skills migration and a threat to screen tourism. The paper argues that interventionist policy making, similar to successful tax relief schemes that have invigorated the UK cultural industries in recent years, could help steer the new technology in directions that help meet wider policy agendas, rather than usurp them. [ABSTRACT FROM AUTHOR]

The article discusses the highlights of a conference on British film production held at the Arnolfini Gallery in Bristol, England on April 19 and 20, 2011. Speaker John Wyver talked about television producer Dallas Bower and his camera set-ups in the 1930s. Speaker Billy Smart presented a paper about television producer Cedric Messina and his style in drama production. The keynote address delivered by professor Vincent Porter focused on the changing historical function of producers.

This article examines the exhibition and reception of Kinemacolor in Russia from 1910 to 1916. Kinemacolor was a British method of filming and projecting in natural color invented by George Albert Smith and financed by Charles Urban, a US-born entrepreneur; film historians generally regard it as the most commercially viable color process before the outbreak of war in 1914. The article investigates Urban's interest in Russia as a potential market for Kinemacolor and as a source of interesting filmic material. In addition to identifying the extent of Kinemacolor's exhibition and distribution in Russia between 1910 and 1916, it also examines the Russian subjects filmed by Urban's companies in black and white and color, and identifies two occasions (1909 and 1913) on which Tsar Nikolai II and Tsarina Aleksandra Fedorovna were filmed in Kinemacolor. The article argues that the reception of Kinemacolor was widespread and diverse, and included members of the Russian imperial family and the Bolshevik leader, Vladimir Lenin. It references the specialist film-trade press in Britain, Russia, Europe, and North America; theater listings in Britain and Russia; and contemporary reports on Kinemacolor exhibitions in the British and Russian media. The article also draws upon the extensive archive of Urban's private papers, which is currently preserved in Bradford's National Science and Media Museum. [ABSTRACT FROM AUTHOR]

The film director Danny Boyle observed that "a Hollywood movie is, while the European film is usually about something". British films have long expressed a kind of 'Lumières fixation', which assumes that a purposeful cinema must necessarily be a realist cinema. This ideal has placed a particular duty on the British art director, who has frequently been called upon to efface him/herself in order to provide ostensibly unmediated visions of the world. This paper surveys realist art direction within three moments of British film history: the films of the Ealing Studios (1938-1955), the British New Wave (1958-1963) and the films of Mike Leigh (1971 to the present). It aims to chart points of continuity in British realist film design and reflect on its contribution to regimes of film representation. In addition, this paper challenges the familiar notion that realist film design is inevitably un-expressive design. [ABSTRACT FROM AUTHOR]

Popular culture is not the endpoint for the communication of fully developed scientific discourses; rather it constitutes a set of narratives, values and practices with which scientists have to engage in the heterogeneous processes of scientific work. In this paper I explore how one group of actors, involved in the development of both postwar natural history television and the professionalization of animal behaviour studies, manage this process. I draw inspiration from sociologists and historians of science, examining the boundary work involved in the definition and legitimation of scientific fields. Specifically, I chart the institution of animal ethology and natural history film-making in Britain through developing a relational account of the co-construction of this new science and its public form within the media. Substantively, the paper discusses the relationship between three genres of early natural history television, tracing their different associations with forms of public science, the spaces of the scientific field and the role of the camera as a tool of scientific observation. Through this analysis I account for the patterns of cooperation and divergence in the broadcasting and scientific visions of nature embedded in the first formations of the Natural History Unit of the British Broadcasting Corporation. [ABSTRACT FROM AUTHOR]

The 1960s are regarded as a period of substantial change and transformation in the British film industry. While cinema attendances continued their steady decline, film production not only remained relatively buoyant but, perhaps more astonishingly, British films garnered an unprecedented level of critical and commercial success. One of the lesser known episodes of the period was a short-lived and ill-fated collaboration between the National Film Finance Corporation (NFFC), a specialised film bank set up by the government in 1949 to rescue an ailing production sector, and the Rank Organisation, the largest commercial company in the British film industry to co-finance a slate of medium budget feature films. This joint initiative led to the production of six feature films released in 1966 and 1967. Unfortunately, this group of productions failed to generate sufficient critical or commercial interest and the initiative quickly folded, consigned to little more than brief valedictory mentions in the standard histories. Making extensive use of government papers held in the National Archives and the files of the completion guarantee company, Film Finances, this article considers the initiative in detail, demonstrating how it can provide valuable insights into some of the underlying tensions and challenges as well as the opportunities facing British film production at a key moment marked not only by commercial and critical success but also by considerable turbulence and uncertainty. Among the factors examined here are the complex and sometimes contradictory impact of increased American funding, the ongoing concerns about the monopolistic tendencies within the industry, and the debates with government and industry prompted by the gradual erosion of the NFFC’s ability to support and nurture independent British film-making during the decade. [ABSTRACT FROM PUBLISHER]

The field of early cinema has been strongly influenced by Tom Gunning and André Gaudreault's 'cinema of attractions' model, where films produced before approximately 1906 were valued primarily because of their ability to put a view on display rather than as a vehicle for storytelling. This model of spectatorship, established by both the gaze of the spectator and the recurring look of the subjects on screen, engendered a kind of exhibitionism that was in stark contrast to both the voyeuristic drive embedded in institutional modes of narrative absorption, and earlier models of aesthetic experience, which were characterized as contemplative, because the curiosity derived from each attraction remained only momentarily and usually was induced by a visual shock. This paper will interrogate the distinction made by the second set of criteria by analyzing how many early 'scenics' produced in Great Britain constructed a dialectic between a state of detached contemplation and visceral immersion. It will do so by drawing on questions about the role of proximity, distance and point of view invoked by the model of spectatorship described as part of the formulation for the Romantic sublime. This early conceptualization of the relationship between subject and spectacle becomes a framework that could allow both historians and theorists to better understand the link between shock and contemplation in the realm of early film aesthetics and more broadly in the domain of landscape aesthetics. [ABSTRACT FROM AUTHOR]

This article examines the UK Film Council's objective to reorganise and reallocate public funding for film from 2000 onwards. I argue that the model adopted by the UKFC was innovative on two levels. First, it separated public funds available for film production into three separate streams and then hired industry professionals to head each individual fund. I also examine how the funds developed over the lifetime of the organisation, with each appointed head shaping the principles of their respective funds in accordance with the wider objectives of the UKFC. Drawing on strategy documents, internal papers and interviews with key personnel, I argue that the UKFC worked to position itself as a 'vanguard organisation' seeking to shake up an independent sector seemingly reliant on state handouts and introduce a commercial perspective to the industry. This mission met an abrupt end, however, when the incoming Coalition government closed down the organisation in 2010. [ABSTRACT FROM AUTHOR]

The article offers a rereading of Scorsese's "No Direction Home" (2005, 2016,). The film replaces D. A. Pennebaker's famous cinema verité, observational documentary "Don't Look Back" (1967) about Dylan's 1965 tour in Great Britain, which has proved, as years have passed, to be insufficient to convey the full story of Dylan's personality behind his artistry. The article's purpose, however, is not to cross-analyze the latter two documentaries. Instead, it provides a closer analysis of "No Direction Home" and explains how and why Dylan appears more appropriately different in this 2005 to 2016 production, while revealing the Scorsese-Dylan connection and commenting on the film in two interrelated fields: cinematic and documentary. The focus is not on Dylan, but on Scorsese. Therefore, the article puts the spotlight back to the original source of the Dylan-Scorsese union in "No Direction Home" (2005, 2016) and on Scorsese's signature documentary and the re-authoring practices first conceived in Woodstock (1970), "The Last Waltz" (1978), and "The Blues" (2003). [ABSTRACT FROM AUTHOR]

This case study traces the evolution of the Make Film History project, an award-winning archival resource which gives emerging filmmakers and educators in the UK and Ireland access to 270 films for creative reuse on course-related projects. It explores the barriers to the creative reuse of audiovisual archive material in education; and how the project overcame these with the support of our project partners at the participating archives to create a new, sustainable model for creative reuse in a range of educational settings and in partnership with film festivals. [ABSTRACT FROM AUTHOR]

This essay offers a close examination of director Mike Leigh's Peterloo, which recounts the struggle for parliamentary reform in Great Britain between the battle of Waterloo and the Peterloo massacre of 1819. Peterloo succeeds, the essay contends, because of Leigh's approach to the craft of filmmaking. If we take Peterloo on its own terms, that is, with an understanding of the unique form of creative labor that went into it, we get a better sense of what we can learn from it, about class politics, about power, about the complicated and difficult formation of democratic movements such as that which brought those many thousands to St. Peter's Field in 1819. [ABSTRACT FROM AUTHOR]

The Amber Film Collective is one of the very few survivors of the once numerous British Workshop Movement. Founded in 1969, Amber was influential in the key moments of the movement's existence, from the founding of the Independent Filmmakers Association, the wrangling of union recognition, access to regular broadcast through the new Channel 4 and steeply increasing grant income. From this point Amber's place in the movement became one of increasing contrast, maintaining independent income from separate businesses, refusing funder pressure to reform on hierarchical lines and successfully avoiding becoming a revenue client of the British Film Institute. Where most workshops lost their funding between 1986 and 1991, only to see the state assimilate their historic functions, Amber has continued for as long again without giving up its original principles and structure. [ABSTRACT FROM AUTHOR]

Considerable time has elapsed since the last comprehensive review of Australian film assistance policy. Despite the fact the no universal agreement exists on the aims of national film assistance policies, it is nonetheless timely to consider the overall effectiveness of present film assistance programs in Australia. Accordingly, the limited objective of this paper is to examine some aggregative outcomes of the Australian film assistance program in comparison to similar programs in Canada and the United Kingdom in the areas of film development, film production, film distribution, film exhibition and film performance. [ABSTRACT FROM AUTHOR]

The article offers a look at the growth of the independent production sector in Great Britain. Independent production appeals to a new ethos in broadcasting and independents are seen as the carriers of diversity and innovation in programmes and in programme-making methods. It mentions that with the introduction of Channel Four, a significant number of small, independent production companies established themselves outside London, England. It reveals that there has been a broad consensus that such production has been a source of both cultural innovation and industrial flexibility in the television industry.

The article reports that two consecutive study weekends were conducted in Newcastle, England on March 1977 which sought to give contexts for mediation and intervention in a defined area of film practice. It notes that the weekends had the purpose to analyze the variety of practices among independent British film-makers and from the groups which creates films as contributions to some political struggles to film-makers whose concerns concentrates on the limitations of illusionist narrative cinema.

This article examines efforts by a range of British visitors to produce ‘home movies’ or amateur film of Kenya from 1928 to 1972, and attempts by both the British film-makers and Kenyans to navigate and influence this production. By bringing cine-cameras to Kenya to record images to be consumed back in the metropole by family and friends as ‘holiday films’, these British visitors laid bare what a number of historians have identified as the ‘imperial gaze’ that defined both colonial and post-colonial conceptions of Africa. Colonialism’s obsession with ordering and positioning bodies within a projected image of power and control made cinema the perfect vessel for such an exercise, while amateur film, with its often clumsy framing and highly personal interaction between the film-maker and the film subject, grants us unique insight into the sometimes coercive, transactional and forced efforts involved in projecting such an image. The amateur films that sit at the centre of this article, which were produced by British visitors to Kenya both before and after independence, offers us the opportunity to examine the wide range of behaviours of both the film-maker and the filmed which underpinned the production of repetitive imperial image-making in colonial and post-colonial Kenya. [ABSTRACT FROM AUTHOR]

This article presents an examination of material from archives, much of it little known and little researched, on the Italian film industry. The importance of archive sources in pinpointing the processes that bring a film to the screen continues to inform film research. The main documentation explored is that of the Film Finances Archive, only recently made available to researchers. This is considered in tandem with data from the Italian State Archive, and a range of other critical and narrative sources. Of these, particularly significant is the correspondence and autobiography of Prince Alessandro Tasca, a little-known figure, who was the Film Finances representative in Italy. Italian filmmaking from 1950 to 1960 is the main focus because it is given extensive coverage in the Film Finances Archive, when the company was involved in a number of Anglo-Italian co-productions. The field of Anglo-Italian co-productions has been described as an ‘undiscovered world’. It is thus contended that, through exploration of this newly available archive material and other relevant sources, the study offers a fresh perspective on the context of postwar Italian filmmaking. [ABSTRACT FROM PUBLISHER]

Academic, policy and industry debates have tended to focus on the mainstream film sector when discussing cultural diversity. One of the persistent challenges for the sector has been how to diversify cultural representation and participation. This article suggests that participatory modes of community filmmaking make an important contribution to cultural diversity. Drawing on an evidence base derived from qualitative research conducted in three English regions, the article shifts the spotlight away from the mainstream and onto the margins of the film sector in order to explore more ‘bottom-up’ approaches to cultural diversity. It examines how community filmmakers interpret and engage with questions of cultural diversity and how this connects to the participatory and business practices that they adopt. The findings highlight the significance of processes of practice in how mediated cultural diversity manifests itself and the value of community filmmaking in contributing to wider cultural diversity debates and practices. [ABSTRACT FROM AUTHOR]

Cinema advertising films have for many decades constituted an important element of British cinema programmes, yet they remain relatively under-researched. This article examines the production, distribution and reception of one such film, a 90 second mini-epic called ‘Lost Island’, which was made in 1965 to promote Sea Witch hair dyes. As well as outlining the technological and experiential aspects of the cinema and cinema-going that continued to make film an attractive medium for advertisers even after the advent of mass television ownership, the article explores the success of the ‘Lost Island’ film and its eventual transmission on commercial television in the UK. As such, an investigation of ‘Lost Island’ allows for an assessment of the appeal of the cinema in the mid-1960s, and also the appeal of the cinema relative to other advertising media in the same period. [ABSTRACT FROM PUBLISHER]

Focusing upon how a ‘national’ film has been historically defined in Britain, this article traces the history of legal definitions of a ‘British’ film and identifies some of the issues around nationality that these have raised. The article begins with a discussion of the introduction of quotas for ‘British’ films in the 1920s and the adoption of the Eady levy as a means of providing production finance to ‘British’ films in the post-war period. It then goes on to examine the introduction, in response to EU regulations governing the film industry, of a ‘Cultural Test’ for ‘British film’ in 2007 and to consider the way in which eligibility for tax reliefs has depended upon a film qualifying as ‘British’. In assessing whether the Cultural Test may be regarded as constituting a ‘break’ in British film policy in terms of a shift from economic to cultural objectives, the article not only indicates the manner in which cultural and economic objectives have been brought into alignment but also identifies how the definition of the ‘national’ for the purposes of tax relief has been designed to encourage ‘transnational’ Hollywood production within the UK. In doing so, the article also indicates how ‘national’ discourses and practices have continued to inform and structure the economic and cultural dynamics of contemporary ‘British’ cinema as well as engaging with, rather than necessarily standing in opposition to, ‘transnational’ and globalising trends. [ABSTRACT FROM PUBLISHER]

Accepting that Free Cinema's legacy has been found on British cinema and television screens in the work of directors other than Lindsay Anderson, this article investigates whether Anderson's own films and television programmes made after the mid-1970s (including not only those that were released but others that were not completed) reveal a continuing commitment to what he liked to call the Free Cinema 'tradition' of film-making. In so doing it draws critical attention to Anderson's lesser known later works such as The Old Crowd, Is That All There Is?, In Celebration, The Whales of August and Glory! Glory! as well as to unmade projects such as The Grand Babylon Hotel, Dress Gray, Vile Bodies, Empire and If (2).... [ABSTRACT FROM AUTHOR]

This research investigates innovation in how film producers use social digital tools to engage consumers, reduce demand uncertainty and respond to the challenge of digital disruption that affects the traditional film value chain. Through three empirical case studies of film production and exploitation, we examine examples of innovation in product, service, distribution, marketing and process, each having important implications at the organizational level. Our findings show that innovations in one area have important implications for other areas, distribution impacting on concepts of product and service, for example. We also show that internal firm micro-process dynamics impact directly on external interactions between the firm, consumers en masse and partner firms. Our research thus lies at the nexus of innovation, social media and uncertainty management, and questions the boundaries found in innovation 'types' or dominant taxonomies in traditional R&D frames. [ABSTRACT FROM AUTHOR]

This article offers the first detailed scholarly account of the role of the continuity supervisor, also known as script supervisor, in film production. After examining in more general terms its attendant duties and responsibilities, the typical career trajectories of a number of 'continuity girls' working in British cinema and the deeply gendered nature of this section of film production labour, the article goes on to examine continuity supervision in more depth through looking at two specific case studies: two continuity supervisors who worked on several productions directed by David Lean, Maggie Unsworth and Barbara Cole. The work of Unsworth and Cole provides a starting point for reconsidering the significance of the hitherto critically marginalised 'continuity girl', and the article concludes with suggestions for further study in this area. [ABSTRACT FROM AUTHOR]

The article looks at the migration of a number of British gallery artists to feature film production and the distribution of their work in a more public realm. It references art critic and historian Julian Stallabrass' attack on the Young British Artist (YBA) phenomenon in his "High Art Lite." It examines various aspects of the British art scene in the 1990s such as marketability, suggesting that the process can be seen as an extension of practice through time and as a crossing of borders.

The article examines the commercial aspect of British film production and argues the difficulty in conceiving of film policy as purely an economic matter. It recalls the abolition of the UK Film Council (UKFC) in July 2010, the publicly funded agency responsible for the support of film after a new team of Ministers was installed at the Department for Culture, Media and Sport (DCMS). It talks about production funding, the importance of creative and cultural activity, and tax incentives.

The article focuses on the role of David Rose as head of English regions drama at film production company BBC Pebble Mill. It stresses that such role has made an impact on his work as head of fiction at publisher broadcaster Channel 4. It recalls that while Rose dealt with writers coming from English regions at Pebble Mill, he worked with writers and directors from all over Great Britain after moving to Channel 4. It adds that the films that Rose worked on exhibited a sense of time and place.

The article explores the role of the producer in films from Great Britain. It stresses that film producer assume creative as well as administrative roles. It is said that the creative contribution of producers to the history of the British film industry tends to be variable, the extent of which depends on the limits placed upon the creative freedom of the producer. It discusses the role of film producers throughout the history of the industry, one is their campaign for artistic control.

An interview with David Sproxton, executive chairman of production company Aardman Animations, is presented. Sproxton differentiates the production of commercial box-office films from broadcast programmes in which they only have Sony as their sourcing body for the former. He notes that his company hires individuals with directorial talent. Sproxton admits that Great Britain offers about 400 animation courses yet most of them do not concern animation production.

A brief history points up the relative scarcity of ethnographic film made by British anthropologists in the 20th century. The reasons for this were the difficulty and expense of filmmaking until recent years, and a theoretical disinterest in filmmaking, leading to a limited opportunity to capture visually the last tribal worlds. The importance of Furer-Haimendorf's collection of films thus stands out. The conditions which made his work in India, the North-East Frontier and Nepal possible are discussed, with an outline of his filming and written ethnographies. Why was he interested in film? Furer-Haimendorf's technical ability with film and photography combined with an emotional sensibility are key. Not fully a man of his time, he avoided the abstract and anti-materialist phase in anthropological theory. An interview with Furer-Haimendorf and his views on film are presented; and we see that the role of Betty Furer-Haimendorf was crucial. We conclude with a brief consideration of his attitudes and, in his later life, the role of the BBC and the professionalization of anthropological filmmaking. [ABSTRACT FROM AUTHOR]

The article offers a look at changes in the tax relief system for film production in Great Britain. According to the authors, little attention has been given to the complex politics involved in the implementation of policy. The authors argue that British film policy exhibits continuity in its governing assumptions. These assumptions include an emphasis on the importance of upholding national identity by maintaining a film industry and a recurrent need to create new forms of economic intervention as older ones fail. The authors emphasize the two key elements, cultural nationalism and economic intervention, as the core of the British government's current creative economy policy.

The article discusses the production of American films in Great Britain in the early 1960s, with a particular focus on the influence of the British Film Production Fund, also known as Eady levy. The author focuses on the films "Lawrence of Arabia," "Becket," and "My Fair Lady," exploring their production histories. The article suggests that British films financed by American film studios, termed runaway productions, made it difficult to distinguish between some American and British films.

The article focuses on the video film-making of Cliff Twemlow and David Kent-Watson to argue that their works and of their associates are significant examples of British exploitation cinema and should be the main rather than secondary to any understanding of the history of low-budget commercial filmmaking in Great Britain. Examples of films that show a forgotten or "lost world" of these filmmakers included "The Assassinator," "Firestar: First Contact" and "The Eye of Satan." These men met in England through their involvement in the television industry.

The article explores the approaches taken by the British film production company Stoll Film Company to producing and distributing the collection of short films called "The Adventures of Sherlock Holmes." The Sherlock Holmes films were based on the detective stories by Sir Arthur Conan Doyle. It is stated that while the production company was anxious to emphasize the distinctly British qualities of its films, it also sought to use some Hollywood-style production values and business strategies.

This article examines topical film-making at the British and Colonial Kinematograph Company between 1908 and 1916. Part one reviews the history and range of the company's output and the impact on it of the animated gazettes after 1910. Part two examines the distinctive distribution practices developed for the rapid circulation of topicals and the planning and logistics involved in filming such events as the Derby. Part three investigates the ideological contradictions promoted by the main subject matter assumed by the early topicals - sports and royalty. Coverage of these fields was a response to developments of relatively recent origin with respect to commercial sporting culture and the public face of royalty. These resulted in sports topicals - especially those dealing with football - drawing the company towards the articulation of values associated with the expanding world of popular commercial culture whilst presentation of royal events drew it into complicity with the dominant culture of Anglo-Britishness and a newly assertive royal pageantry. In turn, the presence of topical film-makers at public events offered distinctive subject positions for members of the new cinema audiences to adopt. [ABSTRACT FROM AUTHOR]

As a theoretical starting point, this article suggests a shift from media-as-text to media object-as-utterance (in the sense of the term as worked out by Bakhtin and Voloshinov). This is done to move away from the production/consumption dichotomy, a framework on which most media studies analyses are predicated. From here, the story is told of Injustice, a documentary that found itself in unusual circumstances at the time of its release in Britain in July/August 2001, with the local police attempting to block the screening of the film at various venues. Attempts to place this narration in relation to an existent cultural studies tradition of writing on the media lead us to consider relations of power/knowledge between British cultural studies and the media it comments on. In conclusion, this article attempts to set out a terrain within which a dialogic anthropology of media can work as a critical knowledge practice. [ABSTRACT FROM AUTHOR]

Assesses the role of British production designer Assheton Gorton as a key figure in the development of a consumerist aesthetic production design in motion pictures in Great Britain in the 1960's. Analysis of the designs of Gorton to clarify authorship and professional development; Impact of the changes in social attitudes on art direction and production design; Information on the motion pictures designed by Gorton

Discusses the importance of theories to screenwriting practice in Great Britain. Factors to be considered in studying and teaching screenwriting; Efforts of British Film Council in addressing screenwriting as a social/industrial practice; Consequences of the establishment of criteria for accrediting screenwriting courses.

Recounts the highlights of a film project funded by the Edison Co. in Great Britain in 1913 based on the diary of the production unit's director, Charles Brabin. Personal account of the film-making experience; Consideration for the appeal of the locale and the weather; Emphasis on directorial decisions.

Discusses the controversy involving Max Schach and his film company Capitol Film Productions Ltd. in the 1930s in Great Britain. Production of the film "Abdul the Damned"; Growing mood of unrest in the industry as a whole over financing; Ways in which Schach's profligacy had caused the whole train of events culminating in a number of lawsuits; Link between Schach and the Aldgate Trust.

Between 1952 and 1965, the British Film Institute financed or part-financed, via its Experimental Film Fund, a total of 50 short films. If many of these films have since been forgotten, a number of them have left their mark on British film history, while their makers have since entered the pantheon of British cinema and television. Yet, little academic or other literature has ever been written on the subject. When the Experimental Film Fund's work has been mentioned in histories of British cinema, these mentions have often undermined the Fund's achievements in the specific context of 1950s and 1960s British cinema. When BFI-funded films from that period have themselves been a subject of study (for instance Free Cinema films), the vital institutional link between the BFI and these films has generally been ignored. The purpose of this article is therefore not only to attempt to rehabilitate the work of the Experimental Film Fund, but also to examine the strict constraints under which it had to operate, as a result of which the scope of its action and influence was inevitably limited. However, a rigorous assessment of the BFI's film-funding achievements in the 1950s and 1960s has to take into account the evolution of the Institute's initial position on that question in the changing cultural context of the post-Second World War period, which eventually led to the setting-up of the Fund in 1952. This 'pre-historical' analysis will be our first task. [ABSTRACT FROM AUTHOR]

Examines the ways in which financial and distribution structures in film-making in the 1990s drove the production of culturally-based film in order to specialize national cinema in the globalized market in Great Britain. Economic and financing structure of the cultural industries such as film-making; Cultural transformation of the film industry; Impact on cinema of the 1990s.

Presents an interview with motion picture director Pratibha Parmar in Great Britain. Characterization of dislocation, sexualities, racism and artistic feminist practices in the films of Parmar; Relationship between theory and practice in film making; List of international films directed by Parmar.

The article discusses the film/video production that is highly affected by the trends in British thought and the film production for which the British feminists had incorporated critical theory into the theoretical analyses of gender and representation. The author argues on the politics of the realist feminist documentary. Any revolutionary strategy, she says, must analyze and question the representation of reality since it is not enough to discuss the oppression of women as depicted in the film. The language of the cinema and the portrayal of the reality must also be interrogated so that ideology is distanced from the text, the author adds.

The article examines the filmmaking and editing technique of Israeli film director Amos Gitai by viewing several of his films, particularly his 1984 documentary "Bangkok-Bahrain." It relates the attempts of intellectuals in the U.S. to be invisible in the community videos being produced and how it contribute to imposition of populism, replacing intellectual analysis. The process of meaning production in the films of Gitai is outlined. "Bangkok-Bahrain" is characterized by fairly long, meandering shots, sometimes with a static camera. It describes how British filmmakers can benefit from the techniques of Gitai.

The article presents an overview of a study of African filmmaking in the 1980s based on the viewing of 36 and 67 or so feature films whch would seem to have been produced in Africa during the five years 1980-1984. The author attempted to set African films in the context of the development of Third World cinema since they are virtually unknown in Great Britain. Among the films that represent contemporary African society are "En résidence surveillée," directed by Paulin Soumanou Viey and "Pétangqui ou le Droit à la vie."

This article provides an overview and assessment of British government policy towards film during the years of Margaret Thatcher's Conservative government 1979-90. Its central argument is that this policy failed to achieve its objectives, and that it did so because it sought to impose `free market' solutions on an industry in which, by virtue of US domination, no free market existed. The results have been a decline in British film production and a domination of the British market by US product. Despite the British government's wish that the industry should `stand on its own feet', what stability British film production enjoyed during the 1980s was the consequence of a continuing dependence on the state, either directly or, in the case of television, indirectly. There has been some belated recognition by the government of the limitations of its policy, but insufficient changes to it to ensure the long-term viability of British film-making. [ABSTRACT FROM AUTHOR]

The article reexamines the significance of the Cinematographic Act of 1909 in Great Britain and offers a new interpretation of its effects. It argues that in addition to allowing local control of safety measures, it also had the unintended result of allowing more local control over programming. The article also aims to briefly demonstrate that while the intention of the Act could be seen as a national tidying up of existing professional practices, local by-laws and local regulations for the safety of the public, its unintentional result was the controlling powers it gave to local authorities to determine programming as well.

The article offers information related to anthropology in Great Britain. The book "Suburban shaman: Tales from medicines's frontline," by Cecil Helman has been awarded the 2007 Medical Journalist Association Book Award. The film "Living goddess," directed by Ishbel Whitaker, which tells the story of a Nepalese child goddess has raised questions about the ethics of documentary film production and promotion. The Annual General meeting of the Royal Anthropological Institute will be held in London, England on September 26, 2007.