British Reviva?Another

io/linK /ii/l © UniWfS"liPo!yGram

Film"et Enl<'rlninnlcnl Ine. I~J99(Courtesy Koh"l)

FILMS

Winners of theBest Picture OscarDances with WolvesThe Silerlce of the LambsUnfargillel?Schindler's ListForrest GumpBraveheartne English PatientTitanicShakespeare in Lwe

Box-Office HitsTitanicIndependence DayThe Full MantyRatman ForeverFour Weddings and a FuneralToy StoryForresl CumpJurm·sic ParkBasic InstinctTermillalOr 2: Judgment Day

Robin Hood, Prince of ThiellesHome Alone

WORLD EVE NTS

1990-1 The Culf War Iraq invades nndannexes the small oil-producingcountry of Kuwait, prompting a US­If'd coalition of 28 nations to wugf' awar against the Iraqi forces.

1991 The Soviet Union is dissolved into itscomponent republics; t1w WnrsawPact is disbanded at the same tiolt'.

1991 South Africa officially nbandonsapartheid, the legal segregation ofblacks and whites.

1994 The first phase of the Caza Strip­Jericho peace accord hE'tw('enPalastine and Israel is signed,",stahlishing Yassir Arafat as the leaderof an autonomOl1S Palastine.

1994 Nelson Mandela, lead~r of thf' AfricanNational Congress,. is invested asPresident of South Africa.

1994 The IRA announcps a cease-fin' ahermore than 50 y(,ars of sectarianviolence.

1997 Diana, Princl'ss of Wnb is killt,d in ncar crilsh in Paris.

1997 The islJnd of Hong Kong is rl'tIIrll('dto China ,Iftn t,lCj years lIf Ilritishsovcreignty.

1998-9 Impcuchm('nt procccdings IwglnagJinst US President Bill C1inton, asa result of his lying to a Gr~nd .Jury

nhollt his ~('xual rl'latinnshir with a

White f fOll~e intprn, Mllni(u

LE'Wirfsiq.1999 NArO ('ng;lg('s in ~irstrik(' ... ;Ig;linst

Serbia, after Ethnic Alhanians living inKosovo arC' att:lCkcd hy Serh I"urn· ....

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i,uegrtlled ,lrU"url'.$, "., hlg HIIJios, Ll,ItUt' rhl' pro'esses of dtllc!upmtml, pruJIILlio/l and

dl.slri/wl;'m tlrt' ji,/(IJIl'pd (.Ind ('(lrried oU! by U siNgle «mlpalIY' ;\Ill! how, hy lonl";l~', ',Ire UK

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,.bslrilmllon 1"-oaIS, Wllich is domin(lltHi by "ig (IS wmfl<IlIIC\ Pmdllrl;"" r~"'(li"l e,' /'IlliNUJ'

a "co/[ur,e indlwry", '

Th... ,lrDI<1(y for dl'3lin with thi~ SiWiI[IUn; , ..we need 10 etlCOIlrc1r.e Ihe elllt'rgt'llce of a

di.S1ribuliun,/ed il1/JU,\\ 'In olh".r worJs. tht' Bdlish film illdllstry snoulcJ spend Ilmn' tim!.'

~T\d IlIUI\"y Illl 'h,' "Il{'rj;ctil '''''rk.-l inj; of il' Pr'Qdlll't~,

IIIDUUIl l D CULTURE

In th .... film tluRJ:dll(' Sigill and SOL/lld, Nkk RoJdid, fnrmN (,ditor

"f <,fefT' 11I11,rlltJllmwl ;",rI M'Ii'I'rK PiC'lurt'~ Hnrl Huth" .., S>lYS dut

although lIlt' bu~in(>~s a~rt't:l pf m~kin1!. nlms is importallt il ,holll"

not obscur<- th fall that t'Vt'ry m('morable achi v<'m,'nt tl' ,-orn.. (Jl

"I II"I\: UK l'Int'lna sin':~ th.. w.ar has I'\ml" om 01 sonl.....m~·5 dC~tr(' Il)

';'l~' :-'lIll1f'lhing nut r1l"lessnrily III sell il, Ill( ... x~II11I'I(' nill f)OIlf:IJ~, Kl'Jj

1.1) ,,,'h, Ni..flllb~ flo('g, Ar~1'l ('I~l,.k .... , Slq.h,," F""lr'i, p"tl'f

C n','rl<lW;iY, lJerck larman, C illil;~ M~I('Kil1non, P~trick Kl<dln, Sally

Poltfr. haal' Julil'n, lert'lll'(' l1al'it's, Mrkl: Lci,g,h, MIl'h;J ,I

WlOteroottOnl,

lHE NArlONAL LOITERY AND IHE ARTS COUNCIL AWIRD

In June 1991j th .. A,t, CO('nl iI ;lI1TK'unu.fi the wlnnt:rs in ,ts cli tnhutiun ul 1:92 Il1llliun ill

loltery mono:; lo film produ tion ,"ompanl s; the award IS aimerl al trlm~thenln~ Ih{' link

bt'IWt't'n rroduC'tion and marketln~ in thl' Bntl<~n him industry alld InJ ht' 011\,' of t n nW$1

importanl influl'nces on film rrodunioll in Rrif~itl.

TI,irly-sevt'1l om~ortia Or groups nl'plinl fur thl' fIlm film fr~n' hi",~ <Ill "ff\'!, 111<'

aprli(~I'lI~ h"c! 1(1 uffer \"'llY~ in wh,\<h the prorlul' r5 routr1rnmhl!lc With d'Slnhutillf\, "'111'~

and 10Jn finann' to form 'mlni-sllIdins' E3(h nidd!.'r I1Illd apply f\;r hel\..-et'n [() nidi"," ~o;cl

(3~1 millinn n lottery mone and had [iI dt-nlOnSlratl' lh~l H l ()uld r IS'" 111~lId1ltl~ 1I0;ln, t'

from other SOllfl.:es, The frandlises rUII I'UT ,ix ~'l':II'S (witl. IJw 110lw th:ll till' stllllius will Ill'

~hle to ,~lalld ('1Il tlll'ir own two 1"":1 "fIn Ih;ll) ~nd rWIlH'n' 1'1.11] 12 1l1ill.on Ill' h,w'r)' 111"'1(')'

can ()(' spt'lIt Ull :In).- Ulll' fillll

lhrl:l' of th{' ;lrrii, ants nwt thl' Art~ C->un\ d'~ nilrflJ P.HIIl-: proil ... rllons: I1',I<k up nf

~i UK pn'<lun:rs and hal'kcd h..,. J f(l'ndl film 1I1lllpany . (""I'i.\'.! 1..3Jm, till' Fillll

COnsortium. which im lu,lcs nJllll" 'Ill), ~" till' din'l'tnr Kl"1I L"'llh ~IIJ p("dun" /'iik

POWI'll, f"rlllt'f Jll:~rlllf I'JI,,(., P" fur(", ;I<,d h:,,,k('(l hy VIfJ.:ir' Cilll'1l1~', ..:,'r,wel 1-" ..

DNA r:ilms Ltd" 'l'l up hy fnur Wf'dr'l'mg~ rtlld 11 FWlrral (MI~l' Nl:"w.'II, 1~9<1:

[)uncan K... nworthy ~nJ IrallJ.f!J(l/1 m1:'~ (D~nny I\,\~ 1.-, I!l'-l6) ",({>d ...,,'r Andrn..- NI

ren"~E'd 29 million.

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Anc!r(.\\, M:lnhm.lld (pH~d\lt er)Inhfllfudhl' (:-~rirt wntlJ)

1);lflny Bl,\l,' (dl1t't tor)

PRODUCTION MODELS

Thcre arc two major Im,dels of film produrtion ~) tlw Alnl'rican studio sy.~t(,1l1 whil h is a

faetor~' system l'ncomr:lssing l:lrge-sc:lk prmiuction, rlistrihution ,lno n.hihition with a huge

number of domcstic outlC'ts for its products and wilh a very large l'\;purt m;lrkl'l ;rnd b) the

.state suhsidised model which is hasically a European initiative. This systf"1Il of sI,lll' support

is dt'signed to rn;lke Sllre that n:ltion;ll audiencE'S can he supplied with films th;lI sp('ak the

country's language and reflect thl:' ("()untry's .5o("i;,) and ("ultural conn'ms. franc!" anrl SWl'dfn

nre countries which produce films with this kind of support. Nt'it!1l'r of" t1W.sl' has h....n

emulated in the UK and the film industry in Britain has, up until the nineties, hcen I"<pl'elt'd

to survive commercially in a very small markl,tplace without l'itting the styk of Ilollywood

and without very much govemlnel1t aid.

Even with successful British films th('re is argunlfnt ahout how tht'ir production ;1Il0

distrihution can he analysed, T;lkc The English Pacien( (Anthony Minghelb, 19%) which won

nine' Osc;1rs in 1<)97, This is, in indl"pendl"nt terms. ,1 Iiln1 with ~ vrry large budget, In

Ilollywood terms, however, it is a medium hudgC'tl>cl movie, There' is no hig stlldio system in

Hrit~in :lnll what this llwans is th<1t virtu;)lIy e'very film made in Rrit<li 11, regard less Ill" its

suhit>cl '1nd dt'grl:"l' of risk, I'<ln hl:' Sl:"~n :IS sonll'thing of an indl:"pendent film.

OnC' I3ritish mode'l of production that h<1s ht"l:'n successful in the Il)~l(Js h:l~ hel'n the

working rel<1tionshir hetween Anorcw M<1c[)onald (producl'r), .John I lodge' (script writer)

and D;lnny Hoylc (diredor), the makers of Shul/oUJ Gn.we ()1)<')4) and 1raillSpOl/illK - ,In

cnCOUr<1I4Cmcnt tu the C','thic of the small produC'lion lon1p;lny.

The signifk:1l1ce of British oroadc3stl'rs in filrn

prodllcti'ln has already hcen di.srussed in the l'lROs

section; it is proh<1hlc th'lt Channel 4 W,IS rl'spnnsihll'

for the survival of Bntish films during this pt'riod.

HllWl'VI'r, the ,1IT1ount of n1on,'y ,w;libhlt, !"m fdm

production rn)m Ch"nnel 4, Gr'ln,llb :1nl! tl1l' IIBe is

sm"II. Tlwre :1ft' deVl'lorlnenls in satl,lIitl' and cahle

tl'lcvision such ;l.S thl' hl111 Four Challnl'l hUl BSkyH,

whic'h l';lrns more from films through t111'ir Movil'

Channch suhsuil'l ion in the LJ K than I inl'llla hox

olfin" vidl'() sail'S or rl'nt;r1 togl't hn, is not cllrfl'lltly

intC'rI'stl'd in production <111" Car!ton, which '11 qllin'd

the largest Ihili,h f(';ltml' film ;IT! hiVl' f"ru111 I~;rnk, has

wit hdr'lwn from rl'I(,;lsing rilms in ("inl'Ill'l,S.

DISTRIBUTION

Distrihutors pun hase the rights to rl'nt filllls to Cinl'ln;1 0rn:llllrs (exhihitors) ill s!1l'l'i!i(

territory (usually lJ K and Jrelaml), FllrLlll'r rights (tll [1'lnision '111<1 vidl'o) aft· oltl'll

purrhas('d separatC'ly and can he sold on [1\ Sllhsidist, thl' ,'inClll'l n'/t-asl' A~ in 1I1;II1Y otlll'r

countries thert' Mt' mort' films producl'd in Brit;lin than «In 1)(' shown un tll<" nllllllll'r III

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I.' Visit your local mulliplex

'lIId look at the displays,

I'0slers and 1Jideo I raileTs.

What kind of film is being

ItJld Ilnd who is the audience?

• What other items are on

Srlle 10 allract the kind of

IIIldience you have idemified?

• flow would you aUract a

dif/emu hnd of audience?

\Vhat programme of fill1l5

IIluuld you offer? How might

lItis change other items on

offer at the mulliplex.) Would

I'UII change the multiplex

,leeor or environmenr for a

di!ferent audience?

Not/ing Hill's (Roger Michetl, 1999) poster campaign has responded to new star Rhys Ifans'

~ppeal to the 'lads' by adding him to the already LlIniliar poster in n'rtain locations after the

release of the film.

• Where would you plll ihe pOSiers to atlract that particular audience - Ihe 'lads'?

• Can yOIl think of any recent poster campaigns which caught your eye?

• Idenlify rwo posters advertising currenl films. Where did you see them? Whal

locations were Ihey in? Were you atrracled by lhem? Are lhey reaching their larger

EXHIBITION· THE MULTIPLEX AUDIENU

Sin<:e 1985 multi rlcxes, together with technological improvprnenls and a more comfortahle

and int('resting environment for audiences, have been rcsponsihle for reviving the cincma­

going habit, (Attendances were at their lowest point in J984 at 54 million - in 1997 they were

139.30 million,) They have also made cinemas more attractive to women who have

accounted for about half the cinema audience in the 1990s.

Most multiplexes are in competition with each other, in similar locations, a few miles

apart, offering an almost identical service. Films shown in the mllltiplexes renect, on the

whole, the tastes of the 10-24 age group. !\lthough there have been rare successes which are

set in a contemporary context such as Four Weddings and a Funeml, 7;'ainspotling and The

Full Monty (Peter eattaneo, 1997) the mass multiplex audience stem to want the Slar Wars

(George Lucas, 1977) kind of film. They do not go to sec the more 'realist' titles which

reflect the times and the culture of a country's population or what might be called national

cinema. For many multirlexes it is more profitable to run the same blockbuster-type film

across three screens rather than chance a lower-budget Tt'least'.

WHO OWNS WHAT?

In 1997 the American-owned chains of multiplexes and megaplexes, for eX3mplp UC1,

Warner Village, Showcase had 58 sites and fi12 screl:'ns. British ownrd chains of lllultirlcxcs

and megaplexes plus smaller sites, for example Odeon, ABe, Virgin and Cineworld occupied

i87 sites and 866 screens and other commercial indppendcnt exhihitors occupy 90S 'UN'ns

and 502 sites. The independent exhibition sector includes 1l1<Jinstrealll exhibitors, ~rthoust'

exhibitors (individual and small chains); puhlicly subsidist'd indivld\1J1 exhihiturs which l"(}uld

be municipal arts centres or town halls which show part-time programrnt's or RegiunJJ Film

Theatres (SFJ supported arthouses).

The increasing numher of cinema sites 'lnd screens has not hCl'll m;,t( hnl hy an

equivalent growth in the numher and rangl' of films coming into distrihution. Thl' poor ratio

of film production to actual release in the cinema is <I cause for ("(mu:-rn amongst film m<Jk,'rs

in Britain. rn 1996, only 19 per cenl of UK films got a r('lcaSl' on over 30 scrC'cns around I he

U K, J3 per cent gOI a 'limited re leas!:" in seledt'd cinc:m:ls and (i8 per cent did not get to I h('

cinemas at all in the year following their produ[(lon. Of the GS films li,tl'd in thl' riFf

I

f

I...,"" .. , " ,,,.,,·,,1,,1 11",,,1> ",,,I, .. I,,, ",,­

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(oi'

".,- ..." ,~" ,....... ,..~"", "....,

-

• Which olher social groups

do you lhillk are illfreqUfJnl

cinema-goers and J1llu;n more

likely 10 watch films on

lelel'ision?

• Look lH one nighl's fill1l

schedules on terrestrial wul

satellire leleflisioll between

7plII-1 Jpm and dil'ide Ihem

up under rile 'readill{!.s of

tar{!.L't audiellce. Which age or

social grOllp do you think is

/IIOSI represented?

• Why are the majority of

film magazines aimed at the

yOUllg reader.?

• Where do you get your

infomralir7/l nbout films?

• {-{OIU many films do you

watch et IlImlth 011 teleuisiolt?

• 1-101/1 1IIa11y films do you

watch a /llOIlth at (he cinema?

• Conduct Cl surlley will! a

sl1/(~1I group of people, for

exalllple family and friends,

clmSlllflies or teachers 10 find

Oll( /U1I/I oJien they see films,

where tJwy see the'/l and where

lhev Ket their illformalio/l from.

FILMS ON TELEVISION

Althou~h therl' has been a glob,d decline in cint'm~ altendan~es, watching films i~ morc

popular than evcr, particularly in Britain, where access to films thruugh television and video

is high by world standards. In 1994 total cinema <ldmissions in Brit~in were 123 million; in

the same year video rentals amounted to 194 million and there were f)o million video retail

sales. There are cllnsiderably more films on television than in the cinemas. In 1994, 299

features were re!t:ased in UK cinem~s of which 35 were wholly British (made hy British

production companies) but in t he some year 1,91 () films were screened on terrestrial

t<"levision, of which 4 13 were British productions.

In 1994 the IOtal viewing figures for the top ten films on television matched the total

~udienre for all 299 films shown in the cinemas. films, including British films, are seen by

more people on television than in the cinemas. So, the fact that people watch more films at

home than they do in the cinema means that in some respects the television and video

audience is more representative of the 'nation' as a whole. The group which i~ most

r('pre~el1ted in the cinem~ (16-24) is much le~s repre.,ented on television and grn\lp~ which

arc les.~ frequent cinema-goers arc much more likely to see films on television, for example

COllll try-d Wl.: Ilers.

rlritish cinema is producing films which are often seen by as many, and sometimes more,

people as films made during the Golden Age of Brilish Cinema (see 1940s). Channel 4's

heavily trailered first television screening of Four Weddings and a Funeral in 1990 attracted

an audience of 12.JR million.

FILM MAGAlI NES/(OVE RAGE

Along with an increase in film viewing h<ls heen the growth in film coverage in the mass media

and consumer press. There has been on increase in listings magazines (which seem to appear in

must weekend newspapers) and an increase in the range of maga7.ines, television progr;.unmt's

and Internet resources which explain, promote, assess and celebratt· film and which also explain

a~pects of the workings of the film industry. Although most of the films that are <!isulss('d <Ind

highlighted ~rc those that re!lect modern multiplex culture there ore prograrnll1l'~ which look

at suhjects such as the role of the critic and debates around the auteur theory.

The numher of film magazinf's available is also increasing; many ~im to attract thl' young

reader with 'extras' .~uch as posters, scripts, rin('ma voucher~ and soundtr<ll·k CD~. Tlw

distrihutors hilve their own subscription magazine Flicks which has changed from simply

adwrtising films to including articles and a more independent l'dltorial 'voice' Some of thesl'

film magazines have highlighted British films and stars - "lntal him h~d a Rril iss/le ill June

1999 with inFormation about sta rs, di rectors and producers and EmjJire llla~a7.int· has \catur('d

lanc Horrorks and Lillle Voice (Marle Hcrman, 1l.J9H) and K~tl' Winslet promoting Hideous

Kinky (Cillies MacKinnon, 1998).

Most pellple get their film news from magazines ilnd new~rarl'r.s or from television lilin

revi('"w show.s. The Hadio Times' wcekly sales ar(' 1.5 million and viewing nUIll!J('rs for Film

98 were 2 million. These figures are much hight'r than sall's for the film industry pllhlil;ltiol1

bnpire, which has the largest circulation with Illonthly ~alc's of ) (if;, 123.

'h'" H,,,·,~ r,h", ,'t. ,1,"0, ..d' n" 1,,,<

I'f'~'" 'fu' t~ ',,,,,11 Io.><W:t 1,1." , ...

m,l,n~.'f< c.., ... ,,"cn., I<-,,",n_ "m'pI",

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>1>,., 'W',fk>fO. kn.", ... " ..... ~,'I .... ".-I ,J

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I," ,I kk , 'N' "'.'

IdentityFilrr Styles, ThemHS Clncj Genres

A"-"'d'lI.. '1'''''''''' In ,h< 1'I''llI. "Wlu, , ,h ~, 8",,,h i,I",' " .. d,ITk"h

'" .o",·~, " n<t ,od ,I>. r...'ut< "I ,I tl.i,j,l, 111", ,,,,I.,,,,,, ""'l Il.. J

"""_,,,,1 _. ,I..-,. .....·m. In I>r .n ,,,,,.,,;,,. ""1,,1.,",, m1'",,,1. hi",

..minus

1I:..IJ,"If' .MtJ. f ...... ,J AI~c .. , ..... 10-". 7"" 1.."t,<Io 11".... ,....pO ,t. t..."I., ,t..

A. ,~lrm~ ,t,,,,.,,,,

."," ........ "' .. l ...

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""""''''' '. I~. ,-. '..,,' '""",'"~. I~"._

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;rIssues

I\

• Does national identity

h'lIl(' l/ ll/errninK for yOll7

• J!rll'(' you seEI1 ,my films

UJfti, Ir YOII thillk collld clearly

be ,feJined as British? What

del/wrrts do they need to /rllue?

The editorial of the film magazine, Siglll (cnd SOImtl ':allcd How British is il? (Marlh

1999) discusses Britishness:

...what's interesting about the.. ,British /lavour 0/ so Inalty Oscar nominations ­

especially the way tire lilles 'I:;{izabeth' and 'Shakespeare ;'1 Love' prod the idea of a

British 'renaissance' back to life - is ti,e extent to which they are perceived as 'British'.

and ...

Its been well dOCllmented that 'Shakespeare in Love'... was wholly funded by Miranrax

to the tune of$25 million ... '£lizabeth'...was produced by London's \#Jrking Title, funded ill

the UK, atUl stars Cate Blanchett ( ..Australian) 'Hilary Arid Jackie'". had Rachet Griffiths,

also Australian....nationalist point-scorillg.. .is a symptom of a real anxiety about today's

cinema: whether Ihe idea ofa Ilatimlal cinellUl has any currency at all.

Tlwrc arE' official gUidelines defining a British film issued hy thE' D('pJrtmcnt (If Culture,

Media ;lnd Sport for Film projccts to qualify for tax r('li"f. For thc.~(' purposcs Britishn('ss

rc"quirE's the production com pJny to h(' rE'gisterE'd in thE' European Community, thl' majority

of the shoot to take place in Brit;lin (or at Ic"st hiM the equipment here) nnd il Inrg(' chunk

of the payroll to h(' spent in Hritilin.

Abo, tilt" British Film ImtitutE' I-Iandhook publishes figlJre.~ annually on the rroduction

of rilm,~ in tht' UK and groups films into the following categories (the t'x<Jfnples arc films

produced in 1997):

• Cillegory A

Films whnc till' financial ilnd 'cultur;i1 impl'tus' from the UK and the majurity of personnel are British, fur example:

HrlfJymolher (.Juli<ln Hcnriqufs, 1(98) - (Fonnatiun Films/C4/Arts CmJncil-England)

cliza/Jeth (Shrkhar Kapur, 199R) - (Working Title/Channel 4)

The GOl'ernl.'ss (Silndra Coldhncher, 19911) - (r'arJIl:lx Piet1lres/HllC/l:lritish Snecn/Arts Council-Enghnd/P;lIldora Prods)

P/unkelf lmd MacLeallE (lulic SCOlt, 1999) - (WnrkinJ4 Title)

HOKlle 'Jhuler (lames Deardm. 1999) - (Dilvid Pnrildinc Prods/Granacb/Newmnrket Cilpitol Group)

24 71illelllyF()urSl?lll?n (Shillle Mendows, 1997) - (Scala/BBC)

(is wen' produced in 1997, with nn ilwr;lgc hudget of [2.28 million. Mllst British films arE' in this cilteg()ry; tlll' hudgd i~

l\lIitc low on average apilrt from a few films such as Elizubelh (1::1 3 million) ;11\0 Pltmkell und M"cLcWJe (llO million).

• Category B

Films in which, although there are foreign partners, there is aUK cultural content and:1 signific;lllt illl10unt of Ilritish financc

and pnsonnel, for eXilrnpit':

/)il'nrcillK Jock (D:wid Caffrey, 199R) - (SralJ/IMA Flhns/RRC/Arts Council-[ngblldlArt.s COllncil-Nnrtlll'rIl In'land/ Will( Ill'st('r

Films (J'r,lncl'j)

Ilideolls /(il'd(v (Gillies M;I(Kinnon, IlJl)()) . (Gr(,l'npllint/L Fihm/R~C/ArtsCOllnril·r,nglilnd/Film Consnrlilllll (h:IIl(,(,))

Iv!,v N(/lIie is .Joe (Ken LU;Jch, 1998) - (P;lr:Jlbx Pil"tllrc,s/Road Muv'jcs Vi(,rlt' I'rndllrkliunl'n/( AIArl<'/S( ot tish Arts

COlllH'illGlasgolV Film Fund/Filmstirtung NordrlH:'in W(-stl',llt'n ((jt>rrn:lIly/Frilnu'))

15 produ,ed in 19()7 wilh an aVl'rngC hudgl't of ll.21Il1illiDIl.

• Cil(('gory C

r'url'iJ:',n (non-US) films in which there is a small lJK invo)vl'l1wnt in fin:ln«(' or pers()llrH'I, for ('SOllllp\(.·

Dm/rillg ill LuglllWSll (P;JI O'Connor, J~nH) - (Fnncbll'/f':ll1dor:I/SillTlson Filllls/C4 [I n·bnd/Fr:1I1( <,/C('fIll;lny))

The RNI Vin/ill (Fran\ojs Girard, 1998) - (Rholllhus M('din/Mikad,I/C4/1i.. ldilm C:Hwda/I)(lr l:j!ln/Nnv I,ill(, (,IIH'JI),I

(Cl n:Jdal Italy/Austria))

17 were rrodured in 1997 with an JI'nag(' hlldg('t of U, t I million.

. !

INTERNATIONALISM AND CO·PRODUCTION

Inll'rn,llit",;d'SIll h;lS <1dcled to the clifhnllty Dr ck·rming Brltishness. Capit~1

investment now crosses frontiers and British cinelll<l is not :l n;1I10,1:1I cinema in

lhe tr"clrllonal sense (in which Swedish, Hung;lrian or flr""llian cin('nn~ ,lfl'

national l im'1l1;1s), M;1ny 13ritish Film, arc illtcrn"tion:ll hln" in trfm, 01

fin:mcp, I'cf,ollnpl, lonl('nt and markn arpC:ll Jnd although they ;Ir(' 1:1h('ll('d

British they h"\'t' ;1 r;lll!!,C l,r inpub ;",<1 charaderistics, InlNnatiml:li funcllllg

supl'0rts localised work s\lch <1S Ken Loa,h's My NlIIm' i~ J(le Lt>:Kh aelmits

that the s\lccess his film~ Io,)\'(:' had in Europe I11t'ans thal he cm gl'lllll' finaIH"

to produt't, OIlC every eighteen months,

Co-prodllltion is ll'11l11l0n in Cl" many, July and Fr;ll1ll' The tw,) r;ltcgorit"

(B and C) an" intcrc<;tinr: in terms or Eurllreall involvl'lllent :lI1d show (h;lt

English-spe:lkillg films with British suhjC'ct, (';In he successful in Europe,

• C:JleRory 1)

AI nnK;, n fi hllS with aUK ('I'(';lt I'" ;lnd/lH minor hnJ nci<11 involveJncnl, ft>r ,')(am pIt':

The ill'ell.l:er.i (krt:'mi:ll, C1ll'd'ik, 199R} . (.Jnry Weintrauh Prods/W<Jrnn flros)

5111'ill[; rril'Ille HYilJI (Stevcn Spiellwrg, 19'-lR} - (Drl'amWorks SKG/Paramollnt/Clolld q/S~'l'tlon 55)

SlilliJl~ Doors (I'el<:r Howin, ]ll<jR) . (M ir:lge Enterprises/Mir~nl~x/British Scrccn/S Ilcltng D(\or~ I'ro!l'!'!)

I Cl fillw; \VI'IT produt:cd will. ;111 ;IV('r;lge budget cl t'l fi.48 million,

This group of films are 'jnl('rnMion;11 l'lollywood films' which harrlt'll to he lIude in the

UK, Thdr hudgets nrc much l'loser to Hollywood hudgets (arollnd $SO million or $32

million), Tlwy hring el11[1ll'yn1l'nl lu studios .~uch ;\s Pincwo"d and Shl'[1pertl>n - hUI not

nen'sS;lril y long lerm,

REPRESENTATION

Sillll' the 1980s it can he :lrgut'd Ihat n<'t nnly h;ls Ihilish ('(nem" exprcssed ;1 much mon'

inclusivc sense of Englishness th;ln previously hllt th:lt it h:ls ,11,0 recognise-cl the <linenng

nationalities :lnd identities within Britain inclllning till' cnll'rgcncc of :1 diqinnivc hb, k

8ril i.,1I cinema (sre 1()HOs}. Bri tish n:llilln;11 cin('I1l:1

;llso \'I"<1r1y nW;ln, Scoltish, \-\'('lsl1 ;lnd Irish rim'l11;)

:l.~ I\'ell :IS just Engli,h ('im'I11;1. TI\ n \)f the 1\1I\sl

Sill n'ssl'ul British I'ilnl' III the IlIid 1')90s - SJIrI I/rJll I

GraJ'e (1l)l)4) aod ];'IIJlS/'lJlfillf': (1 1)95) \\'~'rt' very

clcarly Sl'Oltish,

7i'tliIJspn/liJli: i., ;In inll'rt;>,ting l'xJlllpll' l)f

pn\\'idillg a 111<>1''' Cl)lI\pll'\ c(lI1~ldl'r.1tilln l)f the

n;llinn. It \\':lS <>l1e l,j the 1\l1)~1 Cl1l1)I11Crll;llly

slKn's<llll I-\rit i,d, him' "I' 19l)(), fi n;1 nC<'l1 hI' Ch:111l1l'1

4, and comhin('s an intt'I'('.'-I in ~o<:i;d ;<S\l('s (drllg­

taking, AIDS. rl\\erly) \I'it" a r;lrticlll:tr IISlI:,1 ~tyk.

• Compl/re iI film and (/

leh~l'i.l'i(m drallw or SO{//I which

yotr /hin/l LieuI IlIith aspects of

Hrilish life. Look (lI dass,

ditl/oKlte, loaaiolls, XCIIJer

(lIId ref(iorwl representations.

• Can you think of (I

/lritish (md (Ill Al1Iericcw film

wili"" deal rl/ilh similar isslles

of family life, or re/atio!1ship.~)

Hml l dl) they do it differently)

• Mahe a list of tlreir

differellces ill lelrm of loeatioll,

'reulisIII' (lnd dittlu[;lIe.

Trainspotting (D8nny Boylc, 1995)

7rainspolling experiments with einelllJtie style and also with the traniti{\nal im;l1-\ery of Engbnd

and Scotland. WlH"n the- fillll's nwin Ch;Jr;Ic1('r Mark Rcnton ;Jrri\Ts in London the Him shows

('Ijehed images of l.ondon in J witty inwrsion of th(' kind of tourist illlagt'Ty which Cllll111100ly

Jccomp;Jnies t!le arrival of In English visitor to Scotland. In one S{Tn(' th" film Sh{IWS it.~ main

lhar;Ktcrs in the Scottish countryside, not to make us {', rerit'nee the 'mmantil," he;Hlty of the

Scottish IandscJpc hilt to provide Renton with the occ;Jsion for" vi{'i'IlIS att;l"k on 'heing

Scottish' The film speaks with ;1 'voict" th;lt is definitely Seotti.sh hut it does so in ;1 w"y th~t

gets us, the audiem:e, to re-examillt" our ide:ls of British or Scottish identity.

(LIP TrainspolCing

Look Cl/ clip 15.

• Describe the location in this clip.

• How does the backgrormd contrast with what Reil/on is saying]

• What mabes this scene comic]

BRITAIN AND AMf:RIU

EVl'n wht'n there wns ,I brg~ British film industry in the I94(ls ;lI1d 1~)5()s most of the l)(l~

olTiu: W;IS fur AlllC'rican films. British cinelll;IS ~r(' still hCJrlg k"rt VC'Ty w,,11 surr1i('d with

En~lish-srl('akingf(':ltllTe films from An1C'ricJ and tllt'rc is;J I('ss easily (!c'finc-d f1('I'd fm British

films which r~flecl Rritish culture and explorr matters of concern to Hritish peopl". This kInd

of need seems to :l I"rge degree tn h;lv(' heen served by television. ror British ~t1di('nc('s

t~lf'vision h~s pbyed "n illlport;Jfll role in rcpr<.>selllin1-\ tll!:'ir intncsts and tlll'ir ,·ultllrc. ror :1

world audience f1ritishness is represented on dnt'IlIJ screens with soml'thing of ;In exotic

nllure. Mrs Brown (John M;ldden, 1997). for example, W;JS lTI;Jde first of ,,11 for television and

W:lS thell hugely successful ill Americ:l.

In The Sunday Times - Culture Section, 13 June I ~q~: Cretl/in!: the rleUI fncl! of Britain

by BrY;1I1 Appley:mj says:

...VS-origilwted material accounts [or 80% or 90% o[ wha/ moves the world In tears

and laugh/er. AmericQtI IIwvies and television programmes are a C07lllllrHl KIn/MI

language or, i[yOlI pre[er, the new, snrilinK shock troops o[ a cul/uTal empire.

and .. ,

...Cur/is's [ilm 'FOILT Weddings atld a Funeral' [ollowed 'Charims o[ fire' and 'A fish

Called Watlda' /0 become one o[ the short-lis/ o[ British films to he embraced as the

salvation o[ OUT tlatianal cinema. And nO/v 'Nailing Hil/' may be in the pmuss of

becoming one of the most success[ul British films ever - lIIelmiPlg, essentially, that the

Americans love it.

The frirtion octwe('n Enp,lish and Alllcrican cllltllrl' i';1 brgl' p"rt "I' the (omi, ;Irpl';d "I

these filllls. in A fish Called V\J(uldu (Charles Cri,htoD, I ~lHH) the Kl'vin Klilll' (h;H:ltl{'r i,

ohsessed with Enp,lish class dlstindiolls ~nd in hoth the SIlC{'('s,I',d (:lIrtis lillll\ th" ('l'nlr;d

theme is the romantic transform;ltioll of till' diffident f IlIgh <';1';lnt l h;lr;l( tn hy ;I

sophisticJted American.

(73)

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allegories of Hri[ish Fillll, 11 - D

(see f'1I)!.es 7I-72), would y(lII

pm 'NO/lhlg f1i11'7

NO/ling Hill (Roger Michdl, 19(9)

NutrillK Hi{[ Sl'e;:ms to he an inttTl'stin~ examph- of;1 sllll'('ssful Hritish

film. But is it' It opc,wd ~t I hc Oc!con Leil ester S(jllan' 011 May 21,

1999 ami took $250,000 ill thrcc days. ']'1)(' film's SUlTl'SS col1finns that

a I3ritish product c~n compete with Hollywood hy producin/.t a f'lllow

up to Four Weddil1g~ and (/ Funeral. I1 was al~o successful in AOll'ric;)

and took $27 7 million over tht' opcnin~ fOllr dny w('ckcnn rV1:ly 28·31,

\Nhcn it went out to more .sneells in its $econd week it took IlIort' than

half the UK belx office - $G.9 million in three days.

NOllillg Hill was ll1alk in Britain and the rreativc \t",ITn annl11l)st of

the t31ent arr British - Richard Curl;s is the writer ann DUrlcan

Kenworthy the producer. The originilllnckers, PolyCr~m, w('r(' Dutch

Jnn hasHI ill Lonnon PolyCrJm was sold to Scagram/Un1V<'rsallast slImnwr which m"k,'s it

now an American-owned film distrihutc:-d by Univer:<al Inlc-mational Pictures nnd the him'.,

profits will go to Anwrica (~S with ?he Full Morlly in I~97).

Ik:ln the' fllllnwing exlracts from re-views and artides :lhollt Ridlaro ClIrtis' film NO/ling

Hill, hdllle you w:ltrh the tr~ijer:

'Nolling Hill' is the hangover 10 the TOI4r Weddings' par,y, relying on caricatllre,

dicha and the diminishillg marketnbility of tile increasingly irri/alillg Hugh Grll7lt. This

is a twaist's view ofthe capital, bland arid rcflecting thtlt origillal complaint, colourless.

:lnd ...

,.. a film which is a teeny bit smug and snobbish aboul this frightfully smart bil of

Ivest J.00uJon, while excluding the wsmopulitan amI multiracial history 011 IVltieft its

bohemian reputation is foullded.

'Nottillii Hill' might seem like a formulaic re-workillg of /HI old theme, the sexy

culture clash a/innocence and experience, with a Yank and a Hrit, lI1as wlUH Curtis gave

us ill 'Four Weddings'... 1 don't have a prol,lem wilh that. 'Nollinf( Hill' is a likea/Ile,

seductive film, which also boasts a strong supporting ca.~L.

./ h,- C""rd"m. I:nd"" M"y 21 Iq~l~), S, ' ....n: Kin)( "I'd,,· I [ill

CUP TRAILER - NOlling Hill

Luok at the trailer, clip /8, of 'Nolting Hill' and discuss rite following

• Do you think ir is a lOI<rist's view? Find illustratiOIlS i,l the text to support your

argument.

• Does che trailer look as chol<gh ic is the re-workillg of an old theme in a 'likeable' or

appealing way? Find ~·ceP1R.S which supporc chis.

• Do you think there is anything wrong with re-working old themes if [hey are popular)

Doesn't 'Star Wars' do this? Don'c all genres films do rhis)

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