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The Rise of Art Cinema in Postwar Film Culture: the Exhibition, Distribution, and Reception of Foreign Language Films in Britain 1945–1968

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The Rise of Art Cinema in Postwar Film Culture: the Exhibition, Distribution, and Reception of Foreign Language Films in Britain 1945–1968 The rise of art cinema in postwar film culture: the exhibition, distribution, and reception of foreign language films in Britain 1945–1968 Margaret O’Brien Submitted for the qualification of Doctor of Philosophy Birkbeck University of London Department of Film, Media and Cultural Studies 2018 1 I declare that the work presented in this thesis is entirely my own. __________________________________ MARGARET O’BRIEN © Margaret O'Brien 2018. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from this thesis, nor any information derived therefrom, may be published without the author's prior written consent. 2 Abstract The rise of art cinema in postwar film culture: the exhibition, distribution, and reception of foreign language films in Britain 1945–1968 This institutional and cultural history seeks to restore the foreign language art film to its influential position in postwar British film culture. Its central argument is that the elevation of a group of mainly European directors and films to the newly autonomous field of cinematic art reached its heights in the 1950s and 1960s. Three main factors which drove this process are explored: firstly, changes in society related to education and social mobility that created new audiences; secondly, changing economic and cultural contexts, especially the film festival, whereby European productions were able to challenge Hollywood; and thirdly the construction of new institutional frameworks through publications, distribution companies, cinemas, and film societies. A further argument is that film critics, who were increasingly promoting the ideas of personal authorship inflected by national histories, provided audiences with analytical tools for their readings of art films, thus becoming key agents in the construction of intellectual discourses which separated the art film from Hollywood studio production. The period also saw the combination of sexual explicitness in the ‘serious’ art film with an increasing number of continental X films being sold on their sexual titillation. This study investigates how and why these two trends sometimes met in the same spaces of distribution and exhibition, and how the overlapping identities of ‘sex’ and ‘art’ were negotiated by censors, critics, and audiences. The thesis presents a national picture through new research on local case studies across the UK, mapping the impact of art films outside, as well as within, London and exploring how the particularities of place shaped audiences and programmes. Finally, an analysis of the findings from Cinema Memories, a project conducted for this thesis, provides fresh insights into the reception of foreign language films. 3 Table of contents Abstract .............................................................................................................. 3 Table of contents ...................................................................................................... 4 Tables and figures .................................................................................................... 6 Notes on film titles and terminology ....................................................................... 7 Acknowledgments .................................................................................................... 8 Introduction ............................................................................................................ 10 Prologue: the formation of the field in the 1930s ................................................. 21 Chapter 1: Out of the shadows of war: towards a new international cinema (1946-1952) ............................................................................................................ 31 1.1 The reception of Rome Open City ................................................................ 32 1.2 Festivals: shaping the field of art cinema ...................................................... 34 1.3 Patterns of distribution and exhibition ........................................................... 39 1.4 Changing audiences .................................................................................... 45 1.5 Critical responses to Italian neorealism ........................................................ 49 1.6 French cinema in British film culture ............................................................. 53 1.7 Conclusions ................................................................................................. 58 Chapter 2: Networks, institutions, and places: foreign films in a changing culture (1953–1958) ................................................................................................ 60 2.1 Changing cultural influences ........................................................................ 61 2.2 Shifts in the film industry .............................................................................. 67 2.3 Networks of distribution and exhibition ......................................................... 71 2.4 Spaces and places ....................................................................................... 77 2.5 Film Societies ............................................................................................... 84 2.6 Scotland: a film culture of its own ................................................................. 89 2.7 Conclusions ................................................................................................. 94 Chapter 3: Festivals, stars, and authors: the consolidation of the field (1953– 1958) ............................................................................................................ 96 3.1 Shaping the canon: festivals take root .......................................................... 97 3.2 Shaping the nation: new femininities and Italian stars ................................ 100 3.3 Bardot: barometer of change ...................................................................... 106 3.4 Auteur cinema and its high priests.............................................................. 110 3.5 Brand name authors: Fellini and Bergman ................................................. 113 3.6 Representing the nation: Kurosawa, Ray, and Wajda ................................ 117 3.7 Conclusions ............................................................................................... 124 Chapter 4: Cultural shifts: auteurs, audiences, and exhibition (1959-1962) .. 126 4.1 Modernism and auteurism: Resnais and Antonioni ..................................... 127 4.2 The French New Wave ............................................................................... 134 4.3 The big budget art film: La dolce vita and Rocco and his Brothers ............. 139 4.4 Sex, art and censorship .............................................................................. 143 4.5 The risky business of foreign language films .............................................. 148 4.6 Whats on? A comparison of London and Manchester ................................ 151 4.7 Conclusions ............................................................................................... 158 4 Chapter 5: Liberation, modernization, and the heyday of art cinema (1963– 1968) .......................................................................................................... 160 5.1 Festivals and international trends ............................................................... 161 5.2 London was the best place ......................................................................... 166 5.3 Film as event: three case studies ............................................................... 171 5.4 Mapping the exhibition of foreign films: a case of uneven development ..... 177 5.5 The Academy in your living room: television and foreign films .................... 183 5.6 Film societies as cultural centres ................................................................ 187 5.7 Conclusions ............................................................................................... 195 Chapter 6: Through the lens of memory: foreign language films and other worlds .......................................................................................................... 196 6.1 Methods and methodology ......................................................................... 197 6.2 Coming of age (and looking back) .............................................................. 200 6.3 Kidnapped by the movie: memorable films from the age of cinephilia ......... 205 6.4 The discourses of authorship ..................................................................... 210 6.5 Image and lifestyle ..................................................................................... 213 6.6 Other worlds: the utopian promise of foreign films ...................................... 217 6.7 Conclusions ............................................................................................... 223 Conclusion .......................................................................................................... 225 Figures .......................................................................................................... 231 Appendix 1: Cinema Memories questionnaire .................................................... 245 Appendix 2: Cinema Memories analysis of responses ...................................... 250 Bibliography .........................................................................................................
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