Notes Introduction Creativity: The Theoretical Context 1. Raymond Williams, The Long Revolution (Harmondsworth: Pelican, 1965). 2. Williams argues that while Plato and Aristotle shared the conception of art as essentially mimetic they drew different conclusions from it. Plato regarded art as a pale and worthless imitation of reality while Aristotle saw art as reflecting an idealised or higher reality. In The Creativity Question (Durham, NC: Duke University Press, 1976), Albert Rothenberg and Carl Hausman identify the differences be- tween Plato and Aristotle's conception of creativity. Plato saw creativ- ity as divine inspiration, the intervention of the Gods, while Aristotle tended to regard creativity as a productive activity following natural laws. 3. M. H. Abrams, The Mirror and the Lamp (London: Oxford University Press, 1953). 4. Colin Campbell, The Romantic Ethic and the Spirit of Consumerism (Oxford: Basil Blackwell, 1987), p. 182. 5. The phrase is borrowed from the seminal work by Mario Praz, The Romantic Agony (Oxford: Oxford University Press, 1933). 6. Frank Kermode, Romantic Image (London: Routledge & Kegan Paul, 1957). 7. Karl Miller examines numerous literary examples of 'the dynamic metaphor of the second self' in Doubles: Studies in Literary History (New York: Oxford University Press, 1985). 8. Williams, p. 44. 9. Warren Steinkraus, 'Artistic Creativity and Pain' in M. Mitias (ed.), Creativity in Art, Religion and Culture (Amsterdam, 1985), talks about various aspects of pain associated with the creative process including the pain of making a selection from limitless material, the pain of personal exposure; of having one's innermost feelings made transpa- rent through the art-work, and the pain of suppressed emotion. 10. Coleridge is presented by Laurence Lockridge in The Ethics of Romanticism (Cambridge: Cambridge University Press, 1989), as an example of the link between the British Romantic movement and the broader discourse of nineteenth-century European philosophy, includ- ing the Idealist tradition of Hegel and Kant. 11. Theodor Adorno, Aesthetic Theory (London: Routledge & Kegan Paul, 1984), p. 245. 12. Lionel Trilling, 'Freud and Literature' in The Liberal Imagination (London: Mercury, 1961). 13. Trilling 'Art and Neurosis' in The Liberal Imagination. 212 Notes 213 14. Adorno, p. 12. 15. Herbert Marcuse, One Dimensional Man (London: Sphere, 1968), p. 69. 16. Williams, p. 42. 17. Ibid., p. 51. 18. Ibid., p. 44. 19. See for example, Peter Dews, 'Adorno, Post-Structuralism and the Critique of Identity', New Left Review, No. 157. 20. Adorno, pp. 238--9. 21. Ibid., p. 475. 22. Ibid., p. 243. 23. Roland Barthes, 'The Death of the Author' in Image/Music/Text (London: Fontana, 1977). 24. Robert Philip Kolker, The Altering Eye (New York: Oxford Univer- sity Press, 1983). 1 Creativity and Cinema 1. Edward Buscombe, 'Ideas of Authorship', Screen, Autumn 1973, reproduced in John Caughie (ed.), Theories of Authorship (London: Routledge & Kegan Paul!BFI, 1981), p. 22. 2. See Raymond Williams, The Long Revolution (Harmondsworth: Pelican, 1965). 3. Andrew Sarris, 'Notes on the Auteur Theory in 1962' in Mast & Cohen (eds), Film Theory and Criticism, 2nd Edition (New York: Oxford University Press, 1979). 4. Andre Bazin, 'La Politique des Auteurs', Cahiers Du Cinema, No. 70, April 1970. Extract in Caughie (ed.). 5. Mast & Cohen (eds), p. 658. 6. Claude Levi-Strauss, Structural Anthropology, Vol. 1 (London: Allen Lane, 1969). 7. Geoffrey Nowell-Smith, extract from Visconti in Caughie (ed.), p. 137. 8. Peter Wollen, Signs and Meaning in the Cinema (London: Seeker and Warburg, 1972). 9. Brian Henderson, 'Critique of Cine Structuralism' in Caughie (ed.). 10. Wollen, p. 146. 11. Nowell-Smith in Caughie (ed.). 12. John Caughie, 'Auteur Structuralism. Introduction' in Caughie (ed.). 13. Will Wright, Six Guns and Society (Berkeley, California, 1975). 14. Heath, 'Film and System: Terms of Analysis', Screen, Spring 1975 (part I); Summer 1975 (part II). 15. Geoffrey Nowell-Smith, 'Six Authors in Pursuit of The Searchers' (extract) in Caughie (ed.), p. 223. 16. Pam Cook, 'The auteur debate', in The Cinema Book (London: BFI, 1985). 17. For example, see Roland Barthes, 'The Death of the Author' in Image/Music/Text (London: Fontana, 1977, and Stephen Heath, 'Comment on the Idea of Authorship' in Caughie (ed.). 214 Notes 18. The theory of the enunciating subject is developed by Nowell-Smith in 'A Note on History/Discourse' which refers closely to Metz's article 'History/Discourse' on which it builds. Both essays are included in Caughie (ed.). 19. Sandy Flitterman, 'Woman, Desire and the Look: Feminism and the Enunciative Apparatus in Cinema' in Caughie (ed.). 20. Ibid., p. 243. 21. Nick Browne, 'The Rhetoric of the Specular Text With Reference to Stagecoach' in Caughie (ed.). 22. Derek Jarman, The Last of England (London: Constable, 1987), p. 193. 23. Buscombe in Caughie (ed.), p. 31. 24. For example, Laura Mulvey, 'Visual Pleasure and Narrative Cinema', Screen, Autumn 1975. 25. Jarman, p. 194. 26. Frears quoted in James Park, Learning to Dream (London: Faber & Faber, 1984), p. 22. 27. Paul Coates, The Story of the Lost Reflection (London: Verso, 1985), p. 80. 28. Ibid., p. 82. 29. Andre Bazin, 'The Ontology of the Photographic Image', 1945, quoted in Pam Cook (ed.), The Cinema Book (London: BFI, 1985), p. 224. 30. Rudolph Arnheim from Film as Art in Mast & Cohen, 3rd Edition, 1985. 31. Bazin, 'Cinematic Realism and the Italian School of the Liberation', quoted in Cook (ed.), p. 225. 32. Bazin, Le Journal D'un Cure de Campagne and the Stylistics of Robert Bresson' in What is Cinema?, ed. Hugh Gray (Berkeley: University of California Press, 1967). 33. Interview with Bill Douglas, Edinburgh, 24/7/88. 34. Maya Deren, 'Cinematography: The Creative Use of Reality' in Mast & Cohen, 3rd Edition. 35. Ibid., p. 58. 36. Ibid., p. 61. 2 The Question of Cinema Technology 1. Robert Allen and Douglas Gomery, Film His(ory: Theory and Practice (New York: Kopt, 1985). They refer to several examples of 'The Great Man Theory' from the 'rather simplistic hero worship of Grau' to the 'painstaking descriptions of the invention of early cinematic apparatus in Gordon Hendricks' work'. 2. Raymond Williams, Television: Technology and Cultural Form (Lon- don: Fontana, 1974), p. 13. 3. Stephen Heath, 'The Cinematic Apparatus: Technology as Historical and Cultural Form' in Questions of Cinema (London: Macmillan, 1981), p. 225. Notes 215 4. Raymond Williams, 'British Film History: New Perspectives' in Cur- ran and Porter (eds), British Cinema History (London: Weidenfeld & Nicholson, 1983). 5. Barry Salt, 'Film Style and Technology in the Thirties: Sound' in Belton and Weiss (eds), Film Sound (New York: Columbia University Press, 1985), p. 37. 6. Barry Salt, Film Style and Technology: History and Analysis (London: Starword, 1983), p. 292. 7. Allen and Gomery. 8. Rick Altman, 'The Evolution of Sound Technology' in Belton and Weiss (eds). 9. Peter Wollen, 'Cinema and Technology: a Historical Overview' in Readings and Writings (London: Verso, 1982), p. 169. 10. Altman in Belton and Weiss. 11. Williams, Television. 12. Gomery and Allen. 13. Ibid., pp. 124--5. 14. Wollen, 'Cinema and Technology'. 15. Paul Virilio, War and Cinema: The Logistics of Perception (London: Verso, 1989). 16. Wollen, p. 169. 17. Steve Neale, Cinema and Technology: Image Sound Colour (London: Macmillan/BFI, 1985), p. 2. 18. Heath, p. 227. 19. Jean Louis Comolli, 'Machines of the Visible' in Mast and Cohen (eds), Film Theory and Criticism, 3rd Edition (New York: Oxford University Press, 1985), pp. 741-2. 20. Gomery and Allen. 21. Robert Carringer, The Making of Citizen Kane (London: John Mur- ray, 1985), p. 81. 22. John Ellis, 'Made in Ealing', Screen, Spring 1975. 23. Walter Lassally, Itinerant Cameraman (London: John Murray, 1987). 24. Interview with Michael Coulter, Glasgow, 11/5/88. 25. Interview with Roger Deakins, London, 1817/88. 26. Interview with Tom Priestley, London, 1114/88. 27. Roy Armes, On Video (London: Routledge, 1988), p. 1. 28. Stuart Marshall, 'Video: Technology and Practice', Screen, Vol. 20, no. 1, Spring 1979. 29. Armes, p. 74. 30. Ibid., p. 74. 31. Antonioni in interview with John Francis Lane, Sight & Sound, Winter 1979/80. 32. Lynda Myles, article on One From the Heart in Sight & Sound, Spring 1982. 33. Julian Petley, review article on Out of Order in Monthly Film Bulletin, August 1988. 34. Interview with Michael Coulter, Glasgow, 11/5/88. 35. Interview with Roger Deakins, London, 18/7/88. 216 Notes 36. BFI Dossier on The Boys From the Blackstuff, edited by Richard Paterson, 1984. 37. Armes, p. 195. 38. Wollen, p. 174. Article was originally written in 1978. 39. Interview with Tony Lawson, London, 4/6/88. 40. Interview with James Mackay, London, 9/4/88. 41. Interview with Alan Fountain, London, 6/6/88. 3 The Financing and Production of British Films: Historical Background 1. Interview with Steve Woolley, London, 7/11/88. 2. Michael Chanan, 'The Emergence of an Industry' in Curran and Porter (eds), British Cinema History (London: Weidenfeld and Nicholson, 1983), p. 50. 3. This issue is discussed by Annette Kuhn in Cinema, Censorship and Sexuality 1909-25 (London: Routledge, 1988). 4. A comprehensive breakdown of these categories is provided by James C. Robertson in the appendix to The British Board of Film Censors: Film Censorship in Britain 1896-1950 (Beckenham: Croom Helm, 1985). 5. The case of Saturday Night and Sunday Morning is examined in Jeffrey Richards and Anthony Aldgate, Best of British: Cinema and Society 1930-1970 (Oxford: Basil Blackwell, 1983). 6. Percentages calculated from figures given in Margaret Dickinson and Sarah Street, Cinema and State (London: BFI, 1985), p. 11. 7. Simon Hartog, 'State Protection of a Beleagured Industry' in Curran and Porter (eds). 8. Dickinson and Street, p. 76. 9. George Perry in The Great British Picture Show (London: Pavilion, 1985), points out that the exhibition duopoly also constrained film- makers in relation to changing censorship.