The Raindance Film Festival Is the UK's Largest Independent Film Festival

Total Page:16

File Type:pdf, Size:1020Kb

The Raindance Film Festival Is the UK's Largest Independent Film Festival The Raindance Film Festival is the UK’s largest independent film festival Raindance exists to discover, foster and champion new talent and audiences, the lifeblood of the industry. Since 1992 Raindance has ignited and overseen major shifts in the world of British independent film. eW are proud to provide a platform for first-time filmmakers and promote all aspects of independent cinema in the UK, from guerrilla style low budget shorts to international indie blockbusters. Raindance premières have included Memento, Ghost World, Blair Witch Project, and Pulp Fiction. We satisfy the public’s thirst for bold, original filmmaking through diverse international programming. Current patrons of the festival include Nick Broomfield, Terry Gilliam, Ken Loach, Marky Ramone, Ewan McGregor and Vanessa Redgrave. The Raindance brand unites established talent with the next generation of filmmakers, the film industry and film fans. In 2008 Raindance is relaunching as the UK’s first festival dedicated to both Film and Music. The festival will continue to promote the same independent values exhibited in its film programming for years but will further enhance the music element of the festival harvested since the festival’s inception. The film programme will continue to show the best independent features and shorts of all genres from all over the world, with the addition of live musical acts and special film and music events. These events will feature an eclectic mix of filmmakers and musicians exhibiting creativity and contemporary artwork making Raindance ‘08 a place for both film and music lovers alike. Raindance is currently seeking partners to help develop this music strand. Sponsorship opportunities All sponsors get to associate their brand with the largest independent film festival in the UK endorsed by the British filmmaking community, as well as the opportunity of promoting identity and product to a high profile and targeted audience of industry professionals, emerging film making talent and the wider public. Raindance has an established reputation of producing dynamic partnerships with all its sponsors, generating new ideas and opportunities specific to the communication objectives of each. Headline Sponsorship The opportunity, for the first time, to create a high profile association with all aspects of the festival. Raindance will be presented in association with your brand through all communications in advance and throughout the festival itself. This is a valuable opportunity to both parties, and one that can only be created with a company that has complete synergy with the established brand that is Raindance. This will be an evolving partnership, developing the scale and profile of the festival together with the reach and power of the sponsor’s brand. The specific benefits package will be confirmed following the establishment of key objectives once the appropriate sponsor has been identified. Awards Sponsorship The festival awards a number of jury prizes for the best films during our Closing Night Gala presentation. The awards available to sponsor are Best International Feature, Best UK Feature, Best Documentary Film, Best Debut Feature, and Best International Short film. The best films of the festival are screened in a prime-time slot each day with high profile actors and filmmakers in attendance. Opening Night Gala This exciting evening celebrates the opening of the 16th Raindance Film Festival and features a premiere screening and afterparty. Closing Night Gala This includes the presentation of Festival Jury Prizes, the closing night premiere screening and party. Strand Sponsorship The festival has several screening strands where films are grouped from a particular region or genre. This year’s strands include UK, Documentary, European, North American Independents, Japanese & ‘Raindance fills a big gap in World Cinema and short films. the UK film scene. I’ve been involved for a few years now, Special Events A series of panels, forums and group discussions in both screening films, doing Q&A’s film and music. Past events include screenings and Q&As with Ken Loach, and workshops. The kind Vanessa Redgrave and Marky Ramone (The Ramones) and Mick Jones of people who attend these (The Clash), panels on film financing and distribution, and masterclasses events are the future film with Anthony Dod Mantle, Roger Pratt, Brian Tufano, Mike Figgis, Penny makers. Raindance is a good Woolcock, and Michael Madsen. thing. Support it please’ Live Music Events A series of live music events featuring an eclectic mix of Mike Figgis musicians and recording artists in the West End and throughout London. Director / Hotel / Leaving Las Vegas The Raindance Climate Change Challenge Taking the form of a competition launched in partnership with a corporate sponsor, entrants will be invited to submit a short film highlighting their own creative view of the issue. The best jury selected entrants will have their films screened and be invited to attend a high profile debate as an additional green theme of the 2008 festival. The Raindance Green Room The creation of this new hospitality resource will be located in the plush surroundings of The Rex Cinema and Bar. The Raindance Green Room will be the central hospitality focus throughout the festival for visiting filmmakers and other high profile festival guests and jury members. The Raindance Open This initiative sees the active involvement of a cross section of creative companies who provide support services to the film industry. The initiative will provide an insight into the work of these creative companies to a festival orientated public audience, under the umbrella of Raindance, with each company agreeing to provide a period of open access, in the style of Open House London. Live!Ammunition! Raindance’s popular event where aspiring filmmakers pitch their projects to an illustrious panel of industry figures. This special event is held in London and toured regionally throughout the UK. Previous panelists have included Ewan McGregor, Norma Heyman, Nik Powell, Steve Gaydos, and Matthew Vaughan. It’s Raining Umbrellas It always rains in October. That’s why we call it Raindance. How would you like to see thousands of people walking around Soho with your logo on the Raindance umbrella? Along with the individual benefits for each sponsorship option, you will enjoy the following benefits: Brand Exposure – A full page complimentary full-colour ad in the Festival catalogue – Your name and logo branding on the Raindance website with icon-driven links to your company website, and promotional copy – Branding for the duration of the festival, including: Branding in front of house area Opportunity to distribute literature and / or product Opportunity for your product to be sampled – Opportunity for product placement / literature in the festival goodie bags Brand Enhancement – Association with a high profile independent film festival endorsed by major film figures representing the international independent film industry – A visible demonstration of your company’s commitment to independent filmmaking and innovation Hospitality – VIP passes allowing access to the opening and closing night galas – All access passes to preview screenings throughout the festival – Excellent networking opportunity with Raindance Film Festival partners, supporters and high profile industry professionals Raindance does not simply offer exposure for our supporters. Rather, we tailor elements of the festival around your organisation, ensuring that you are fully integrated with the themes, processes and values of the festival. ‘We have a great working rela- tionship with Raindance. They are not only friendly, efficient Case Study: Tiscali Partnership and well connected, but have also really understood and In 2007, Tiscali and Raindance launched Raindance Online which was the embraced the internet as an world’s first simultaneous online / offline film festival. The project was opportunity for independent received very well by filmmakers and cinemagoers and received a large film’ amount of press coverage due to its pioneering nature. Tiscali Case Study: Delta Air Lines “Delta has now had our second successful year as the In 2005, Delta Air Lines began international flights from the UK to the US. official airline of Raindance To bring the support they’ve shown to filmmakers in the US to the UK, Delta Film Festival. The partner- joined Raindance to support the Best UK Short Film Award which awarded ship has proved to be a great the winning filmmaker with two return trips to any US destination. The award investment for us, as well as was designed to give the winning filmmaker an opportunity to showcase enabling us to continue our their work at film festivals in the US. support for emerging filmmak- ers and independent films in A few facts and figures Europe and the US.” Delta Air Lines – Last year attendance rose to just over 10,000, and the festival received its most glowing press coverage to date – We screened over 70 feature films and more than 100 short films from filmmakers across the globe, along with a diverse selection of workshops, discussion panels, interviews, parties and special events – The Festival’s targeted and guaranteed audience is ABC1, 18-34, 60% male, and predominantly London-based – hip artistic and intelligent urbanites, culturally and politically switched on, in pursuit of new and alternative ways of looking at, and discussing the world, as well as journalists, acquisition executives, actors, producers and directors – Raindance attracts
Recommended publications
  • Working-Class Cinema in the Age of Digital Capitalism
    WORKING-CLASS CINEMA IN THE AGE OF DIGITAL CAPITALISM MASSIMILIANO MOLLONA he story of cinema starts with workers. The film Workers Leaving The TLumière Factory In Lyon (La Sortie des Usines Lumière à Lyon, 1895) by the brothers Louis and Auguste Lumière, 45 seconds long, shows the approximately 100 workers at a factory for photographic goods in Lyon- Montplaisir leaving through two gates and exiting the frame to both sides. But why does the story of cinema begin with the end of work? Is it because, as has been suggested, it is impossible to represent work from the perspective of labour but only from the point of view of capital, because the revolutionary horizon of the working class coincides with the end of work?1 After all, the early revolutionary art avant-garde had an ambiguous relationship with capitalism: it provided both a critique of commodification whilst also reproducing the commodity form.2 Even the cinema of Eisenstein, which so subverted the bourgeois sense of space, time, and personhood, at the same time standardized and commodified working-class reality with techniques of framing and editing that moulded images on the commodity form.3 Such dialectics between art and the commodity form continue to be played out in today’s digital capitalism, as exemplified by so-called ‘debt- artists’, like the hackers collective, Robin Hood, who appropriate the techniques and modes of sociality of financial capitalism to generate spaces of reciprocity and cooperation with the aim of disrupting their commodity logic, but which in fact end up reproducing it.4 The tension between critique and commodification is no less in play as the digital medium erases the specificity of cinema, the relation between its material bases and its poetics, opening up as it does to other relations – intertextual, lateral, and cross-media – that recall the synchronic aesthetics of the avant-garde.
    [Show full text]
  • BBC Four Programme Information
    SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras.
    [Show full text]
  • Set in Scotland a Film Fan's Odyssey
    Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor.
    [Show full text]
  • Irish Film Series an Engrossing Trip Through the Music, Customs, Culture
    Irish Film Series An engrossing trip through the music, customs, culture, politics, religion and history of Ireland as told in a series of films made about, Ireland and her people. The featured films span 200 years of the Irish experience. Series host: Frank Howe, Professor Emeritus, Longwood University WHEN IRELAND STARVED (1992) Saturday, February 28 2:00 – 4:00 PM "The ruin is great and complete. They are prostrate and helpless. The once frolicsome people, the saucy beggars...have disappeared and given place to wan and haggard objects who are so resigned to their doom that they no longer expect relief. One beholds only shrunken frames, scarcely covered with flesh, crawling skeletons, who appear to have risen from their graves." These are the words of a doctor writing at the height of the Great Irish Famine—undoubtedly an event with the most far-flung effects in Irish history. This film traces the causes of An Gorta Mór (The Great Hunger), follows its unfolding, and examines its results. It lays the groundwork for contextualizing the remainder of the film series. Director/Screenplay: Joseph Dunn THE BLODDY IRISH (2016) Saturday, March 7 2:00 – 4:00 PM A unique musical based on the events of the 1916 Easter Rising. The production combines traditional Irish music and song with a compelling script that examines the causes and results of the failed rebellion that ultimately led to Irish independence. Director: Michael Barker-Cavan Composer/Musical Director: David Downes Screenplay: Barry Devlin THE WIND THAT SHAKES THE BARLEY (2007) Saturday, March 14 2:00 – 4:00 PM Set during the Irish War of Independence in the early 1920s.
    [Show full text]
  • Adventures in Film Music Redux Composer Profiles
    Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017).
    [Show full text]
  • New BFI Filmography Reveals Complete Story of UK Film 1911
    NEW BFI FILMOGRAPHY REVEALS COMPLETE STORY OF UK FILM 1911 – 2017 filmography.bfi.org.uk | #BFIFilmography New findings about women in UK feature film – percentage of women cast unchanged in over 100 years and less than 1% of films identified as having a majority female crew Queen Victoria, Sherlock Holmes and James Bond most featured characters Judi Dench is now the most prolific working female actor with the release of Victoria and Abdul this month Michael Caine is the most prolific working actor Kate Dickie revealed as the most credited female film actor of the current decade followed by Jodie Whittaker, the first female Doctor Who Jim Broadbent is the most credited actor of the current decade Brits make more films about war than sex, and more about Europe than Great Britain MAN is the most common word in film titles Gurinder Chadha and Sally Potter are the most prolific working female film directors and Ken Loach is the most prolific male London, Wednesday 20 September 2017 – Today the BFI launched the BFI Filmography, the world’s first complete and accurate living record of UK cinema that means everyone – from film fans and industry professionals to researchers and students – can now search and explore British film history, for free. A treasure trove of new information, the BFI Filmography is an ever-expanding record that draws on credits from over 10,000 films, from the first UK film released in cinemas in 1911 through to present day, and charts the 250,000 cast and crew behind them. There are 130 genres within the BFI Filmography, the largest of which is Drama with 3,710 films.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • British Art Cinema
    Introduction: British art cinema 1 Introduction – British art cinema: creativity, experimentation and innovation Paul Newland and Brian Hoyle What is art cinema? Definitions of art cinema have long been contested, but the generic term ‘art cinema’ has generally come to stand for feature-length narrative films that are situated at the margins of mainstream cinema, located some- where between overtly experimental films and more obviously commercial product. Whether it is through a modernist, drifting, episodic approach to storytelling; a complex engagement with high culture; the foregrounding of a distinct authorial voice; or a simple refusal to bow to normal commercial considerations, at its heart the term ‘art cinema’ has come to represent film- making which is distinct from – and often in direct opposition to – popular narrative film. But for Steve Neale, writing in a seminal article published in the journal Screen in 1981, the term ‘art cinema’ applies not just to individ- ual films and film histories but also to patterns of distribution, exhibition, reception and audience engagement.1 Moreover, art cinema, in its cultural and aesthetic aspirations but also its audience, relies heavily upon an appeal to ‘universal’ values of culture and art. This is reflected in the existence of international festivals, where distribution is sought for these films, and where their status as ‘art’ – and as films ‘to be taken seriously’ – is confirmed and re-stated through prizes and awards. Writing in 2013, David Andrews argued that art cinema should
    [Show full text]
  • Kathleen Kennedy, Frank Marshall
    PARAMOUNT PICTURES Présente Une production LUCASFILM Ltd Un fi lm de STEVEN SPIELBERG (Indiana Jones and the Kingdom of the Crystal Skull) Avec HARRISON FORD CATE BLANCHETT, KAREN ALLEN, RAY WINSTONE, JOHN HURT, JIM BROADBENT et SHIA LaBEOUF Scénario de DAVID KOEPP Produit par GEORGE LUCAS, KATHLEEN KENNEDY, FRANK MARSHALL Un fi lm PARAMOUNT Distribué par PARAMOUNT PICTURES FRANCE SORTIE : 21 MAI 2008 Durée : 2h03 DISTRIBUTION PRESSE Michèle Abitbol-Lasry Séverine Lajarrige 184, bld Haussmann – 75008 Paris 1, rue Meyerbeer – 75009 Paris Tél. : 01 45 62 45 62 Tél. : 01 40 07 38 86 [email protected] Fax : 01 40 07 38 39 [email protected] SYNOPSIS Ses exploits sont légendaires, son nom est synonyme d'aventure… Indiana Jones, l'archéologue au sourire conquérant et aux poings d'acier, est de retour, avec son blouson de cuir, son grand fouet, son chapeau… et son incurable phobie des serpents. Sa nouvelle aventure débute dans un désert du sud- ouest des États-Unis. Nous sommes en 1957, en pleine Guerre Froide ; Indy et son copain Mac viennent tout juste d'échapper à une bande d'agents soviétiques à la recherche d'une mystérieuse relique surgie du fond des temps. De retour au Marshall College, le Professeur Jones apprend une très mauvaise nouvelle : ses récentes ac- tivités l'ont rendu suspect aux yeux du gouvernement américain. Le doyen Stanforth, qui est aussi un proche ami, se voit contraint de le licencier. À la sortie de la ville, Indiana fait la connaissance d'un jeune motard rebelle, Mutt, qui lui fait une pro- position inattendue.
    [Show full text]
  • Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
    Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] ​ www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, ​ 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE
    [Show full text]
  • Hliebing Dissertation Revised 05092012 3
    Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee.
    [Show full text]
  • Is There a Distinctive British Cinema?
    Is There a Distinctive British Cinema? Yrd. Doç. Dr. Sibel ÇELİK NORMAN anadolu üniversitesi, iletişim bilimleri fakültesi [email protected] Abstract The essay reviews certain critical junctures of the history of the British cinema in order to determine the reason for its apparent lack of distinct characteristics in terms of narrative theme, cinematic style or mise-en-scène. These critical junctures include: ‘social consensus’ films of the 1930s; war films of the Second World War and after; the mini-cycle of British epics; the British ‘new wave’ of the early 1960s; and the ‘heritage’ film of the 1980s. It is argued that the emergence of a ‘national cinema’ requires a degree of social and political cohesiveness which has not been present in Britain since the early 1950s. The box-office successes of the 1990s are examined against a background of intensifying regional friction which makes the ultimate emergence of a distinctive British cinema unlikely. The findings of the essay have implications for the relationship between the concepts of national cinema and national identity, seen through the prism of an unusually varied and often intelligent cinematic history. keywords: British cinema, national cinema, national identity 86 Résumé Existe-t-il un cinéma Britannique distinctif? L’essai examine certains points de jonction critiques de l’histoire du cinéma britannique afin de déterminer quelle est la raison de son manque apparent de caractéristiques tels que thème narratif, style cinématographique ou mise en scène. Ces points de jonction critiques incluent: des films de “consensus social” des années 1930; des films de guerre datant de la deuxième guerre mondiale et après; le mini cycle de l’épopée britannique, la “new wave” (nouvelle vague) du début des années 1960, et le film “héritage” des années 1980.
    [Show full text]