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Representing Henry's Royal Palace Representing Henry’s Royal Palace: The Relationship between Film, Television and Hampton Court Palace Llewella Chapman Thesis submitted for the degree of Doctor of Philosophy University of East Anglia, School of Art, Media and American Studies July 2017 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 use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract This thesis explores the relationship between the heritage industry on the one hand, and the film and television industries on the other. It will argue that a hierarchy of heritage sites exists in the United Kingdom, which, depending on a site’s placement within this hierarchy, determines how a site engages with film and television. Furthermore, this thesis argues that there are three main ways in which heritage sites can engage with film and television: firstly, by allowing film and television productions to make use of a site; secondly through using film and television as part of a site’s interpretation strategy; and finally, by using film and television as part of a site’s marketing strategy. As a case study, this thesis focuses on Hampton Court Palace, a site maintained by Historic Royal Palaces. There is evidence to suggest that this organisation places itself highly within the hierarchy, and therefore this thesis will analyse the ways that it engages with film and television at Hampton Court Palace. First, it will document the establishment of Hampton Court’s policy for allowing film producers access to this site, including case studies of selected films such as The Private Life of Henry VIII (1933) and To Kill a King (2003). Then it will analyse how the three departments instrumental in designing and installing exhibition strategies at Hampton Court Palace; Curatorial, Interpretation and Marketing; make use of film and television to present this site’s history to visitors. The thesis will make an intervention within current scholarship within the area of film, television and heritage studies through understanding how heritage organisations choose to engage with film and television. Most research within this area focuses on visitor engagement with heritage sites encouraged by film and television, for example tourism trails and film pilgrimages. Instead, this thesis will research how sites engage with film and television from the perspective of internal departments working within a heritage organisation. 2 Contents Abstract 2 List of Abbreviations 5 List of Illustrations 6 Acknowledgements 8 Introduction 10 Literature Review 12 Interventions 29 Methodology 41 Thesis Outline 43 Chapter 1. Early Film Policy at Hampton Court Palace, 1910 – 1989 47 Development of a Cinematograph Policy, 1911 – 1989 48 The Private Life of Henry VIII (1933) 62 Cinematograph Policy at Hampton Court Palace, 1940 – 1970 73 Cinematograph Policy at Hampton Court Palace, 1980 – 1989 78 Conclusion 80 Chapter 2. Current Film Policy at Hampton Court Palace, 1989 – 2016 83 The Formation of Historic Royal Palaces and their policy toward filmmaking 83 To Kill a King (2003) 87 Current Film Policy 103 Conclusion 108 Chapter 3. Curating Hampton Court Palace: Magnificent Henry and the Council 112 Chamber Magnificent Henry 113 The Council Chamber Reinterpretation (2009-) 133 3 Conclusion 145 Chapter 4. Interpreting Hampton Court Palace: Young Henry (2007) and 149 The Tudors (2007-2010) The Production of The Tudors (2007-2010) 150 The Interpretation Department’s Strategy behind Young Henry (2007-) 154 The Tudors versus Young Henry 162 Post-production Marketing Strategies 170 Reception of The Tudors and Young Henry 172 Conclusion 183 Chapter 5. Marketing Hampton Court Palace: The Other Boleyn Girl Costume 186 Exhibition (2008) The Popularity of Anne Boleyn and The Other Boleyn Girl (2001) 187 The Other Boleyn Girl (Justin Chadwick, 2008) 193 The Other Boleyn Girl Costume Exhibition (2008) 204 The Other Boleyn Girl versus Henry’s Women (2009) 211 Conclusion 215 Conclusion 219 Interventions toward current Academic Scholarship and Methodology 220 Case Studies 222 Wider Implications 230 Appendix: ALVA British Tourist Attraction Figures (2010) 238 Artworks 243 Bibliography 245 Filmography 262 4 List of Abbreviations AHRC (Arts and Humanities Research Council) AV (Audio-Visual) ALVA (Association of Leading Visitor Attractions) BBC (British Broadcasting Corporation) BDRC (Business Development Research Consultants) BFI (British Film Institute) CBC (Canadian Broadcasting Corporation) CGI (Computer Generated Imaging) HBO (Home Box Office) HRP (Historic Royal Palaces) IMG (International Management Group) ITV (Independent Television Network) KTP (Knowledge Transfer Partnership) NFFC (National Film Finance Corporation) SoF (Sources of Funding) TNA (The National Archives) 5 List of Illustrations Figure 1: Intertitle in Hampton Court Palace (1926) 53 Figure 2: Final Scenes from Hampton Court Palace (1926) 54 Figure 3: Korda on Location at Hatfield House 68 Figure 4: The Great Hall, Hampton Court Palace 69 Figure 5: The Great Hall Set in The Private Life of Henry VIII (1933) 69 Figure 6: A Boy Looking through a Casement Window (Flemish School, 17th Century) 70 Figure 7: Still from The Private Life of Henry VIII (1933) 71 Figure 8: Boy looking through to Whitehall ‘interior’ in To Kill a King (2003) 96 Figure 9: Whitehall/Hampton Court (1) 97 Figure 10: Whitehall/Hampton Court (2) 98 Figure 11: The Field of the Cloth of Gold (British School, c.1545) 117 Figure 12: The wine fountain in Base Court 118 Figure 13: Still of The Tudors (2007-2010) in the Master Plan Report 119 Figure 14: Reinterpretation of the Great Hall in 2009 120 Figure 15: The Great Watching Chamber in 2009 121 Figure 16: Production Still from The Private Life of Henry VIII (1933) 126 Figure 17: Live Interpretation ‘Order of Service’ (2009) 135 Figure 18: Council Chamber Floor Plan 136 Figure 19: Council Chamber Seat and Monitor Housing 137 Figure 20: The Reinterpreted Council Chamber (2009-) 137 Figure 21: The Family of Henry VIII (British School, c.1545) 138 Figure 22: Design elements taken from The Family of Henry VIII 140 (British School, c.1545) Figure 23: The Family of Henry VIII (British School, c.1545), as used within 140 the Council Chamber (2009-) 6 Figure 24: Henry VIII (Lucas Horenbout, 1926) 152 Figure 25: Jonathan Rhys Meyers as Henry VIII in The Tudors (2007-2010) 153 Figure 26: Holographic image of Henry VIII in Young Henry (2007-) 162 Figure 27: Written interpretation in Young Henry (2007-) 164 Figure 28: Hampton Court as it appears in The Tudors (2007-2010) 170 Figure 29: Promotional Image for Young Henry (2007-) 171 Figure 30: Promotional Still for The Tudors (2007-2010) 171 Figure 31: Room 6 of Young Henry (2007-) 180 Figure 32: The mirroring and opposition of Anne and Mary as they prepare 196 to greet Henry in The Other Boleyn Girl (2008) Figure 33: Anne and Henry at the banquet in The Other Boleyn Girl (2008) 197 Figure 34: Mary tends to Henry’s injuries in The Other Boleyn Girl (2008) 198 Figure 35: The Other Boleyn Girl Costume Exhibition space (2008) 206 Figure 36: The Other Boleyn Girl Costume Exhibition poster (2008) 208 Figure 37: ‘D3:11: Visitor Number Trends 1978 – 1979 – Comparative Performance 232 of eight years’ 7 Acknowledgements This thesis would not have been possible without the help, encouragement and assistance from the following people. First and foremost, thank you to Mark Jancovich and Melanie Williams, my PhD supervisors. I would also like to acknowledge the overall assistance provided by the University of East Anglia in supporting me financially with an Arts and Humanities Scholarship with which to undertake this research. Thank you must go as well to Richard Maguire, formerly of the School of History, and to members of the School of Art, Media and American Studies, particularly Su Holmes and Keith M. Johnston. I also extend my gratitude the wider PhD cohort within the School, and especially to Adam and Patrick Bingham-Scales, Helena Dare-Edwards, Martin Tease, Edwin Vollans, Sarah Hill and Mark Fryers, who offered continual friendship and support throughout the duration of this project. I would like to acknowledge the friendly support and assistance I received from staff working at both the National Archives and the British Film Institute Reuben Library and Special Collections, particularly Jonny Davies. I am indebted to the permission granted by the Board of Trustees of Historic Royal Palaces for granting permission to quote from documents not in the public domain. Thanks also to employees of HRP: Michael Day, John Barnes, Paul Gray, David Hingley, Rod Giddins, Ray Savage, Philip Johnson, Lucy Worsley, Brett Dolman, Kent Rawlinson, Suzannah Lipscomb, Chris Gidlow, Kate Woodall, Aileen Pierce, Kate Branson and Ella Sullivan. Thank you, as well, to members of the State Apartment Warder team who I worked with between 2009-2012, and who put up with my ‘Happy Hours’ dedicated to discussing the relationship between film and Hampton Court Palace. Special thanks must go to Gerry Walton and John Riddle, who were schooled in the University of Life. Thank you also to Kevin Loader and Becky Smith, who I interviewed as part of this project. 8 I would like to thank my family and friends for their continued love and support, particularly Dawn, Richard, Michael, Katie and Alex. Finally, I would like to extend my gratitude to my husband James Chapman, whom I met during the early stages of this project, and who has patiently put up with the ‘other’ man in my life: Henry VIII. Without his love, encouragement, suggestions, and support, my thesis would not be what it is, and there are not enough words to express my love and thanks for all that he has done.
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