The Origin, Practice and Meaning of the Free Cinema Manifesto

2014 ◽  
Vol 11 (2-3) ◽  
pp. 294-311 ◽  
Author(s):  
Charles Drazin
Keyword(s):  
Early Development ◽  
Dominant Role ◽  
New Wave ◽  
Independent Film ◽  
The 1960S ◽  
Film Making ◽  
First Time ◽  
Important Basis

In the late 1940s, the independent film quarterly Sequence, which championed a personal, committed cinema, stood for an attitude towards film-making that provided an important basis for the development of the Free Cinema movement in the following decade. It was in Sequence that the phrase ‘Free Cinema’ was coined for the first time. This article traces the early development of the Free Cinema ethos in Sequence magazine and follows the steps by which the idea was turned into reality. It singles out Lindsay Anderson as the most influential figure in both the genesis and direction of the movement. After its formal end in 1959, Free Cinema lived on most obviously in the British New Wave of the 1960s, but its characteristics defied easy analysis. Discussing the legacy of the Free Cinema, the article explores its contradictory, subjective nature and examines the dominant role that Anderson continued to play in determining how it came to be understood.

Britain's Channel 4: A TV Provider Caught Between Private Sector Funding and Its Cultural Mission

2014 ◽  
Vol 11 (4) ◽  
pp. 418-439 ◽  
Author(s):  
Gabriele Bock ◽  
Siegfried Zielinski
Keyword(s):  
Public Service ◽  
Risk Taking ◽  
Independent Film ◽  
Television Channel ◽  
Policy Context ◽  
Funding Mechanism ◽  
Contemporary Perspective ◽  
Hybrid Character ◽  
Commercial Station ◽  
First Time

This article, which first appeared in Media Perspektiven 1 (1987), is published here for the first time in English. It offers an enlightening contemporary perspective, from the then German Federal Republic, on the innovation in European broadcasting which Channel 4 represented. It outlines the policy context which gave rise to the UK's fourth television channel and describes its unique, hybrid character as a commercial station funded by advertising revenue with a public service remit. It assesses the strengths and weaknesses of Channel 4's commissioning structure and identifies significant examples of its innovative programming, paying particular attention to its support for independent film. That emphasis is noteworthy since it was West German television's film-funding mechanism that provided the model on which Film on Four was based. The article recognises Channel 4's commitment to catering for minority audiences, to enabling broader access to programme-making and to commissioning work that was experimental in form and content. It is generous in suggesting that such a risk-taking cultural enterprise was only possible within the UK's mature and highly developed broadcasting ecology, but it remains cautious (perhaps presciently) of its sustainability in the expanding commercial marketplace of multi-channel television.

CAREERS, COMMUNITIES, AND INDUSTRY EVOLUTION: LINKS TO COMPLEXITY THEORY

2001 ◽  
Vol 05 (02) ◽  
pp. 239-255 ◽  
Author(s):  
MICHAEL B. ARTHUR ◽  
ROBERT J. DEFILLIPPI ◽  
VALERIE J. LINDSAY
Keyword(s):  
Complexity Theory ◽  
Ways Of Knowing ◽  
Industry Evolution ◽  
Alternative View ◽  
Building Industry ◽  
Independent Film ◽  
Unit Of Analysis ◽  
Boat Building ◽  
Film Making ◽  
Principal Unit

Traditional views of industry evolution focus on the company as their principal unit of analysis. We offer an alternative view that links between workers' careers and successive community, company and industry effects. We apply this view to evidence from independent film-making, and suggest a conception of the career, involving three "ways of knowing", to underlie these links. We next explore two more industry examples, the New Zealand boat building industry and the Linux operating system in the software industry, which provide further support for the alternative view proposed, as well as extending it to consider the influence of the World Wide Web. We see all three industry examples as illustrating a range of ideas in complexity theory. We propose that a career-centric view provides a useful basis for the further exploration and application of complexity theory to industrial life.

scholarly journals Emigration of Jews from the Soviet Union in the 1960-1970s through the eyes of the American press

2019 ◽  
Vol 11 (2) ◽  
pp. 136-160
Author(s):  
Alexey V. Antoshin ◽  
Dmitry L. Strovsky
Keyword(s):  
Soviet Union ◽  
The United States ◽  
Cultural Development ◽  
The Soviet Union ◽  
American Press ◽  
The Usa ◽  
History Of ◽  
The Media ◽  
The 1960S ◽  
First Time

The article analyzes the features of Soviet emigration and repatriation in the second half of the 1960s through the early 1970s, when for the first time after a long period of time, and as a result of political agreements between the USSR and the USA, hundreds of thousands of Soviet Jews were able to leave the Soviet Union for good and settle in the United States and Israel. Our attention is focused not only on the history of this issue and the overall political situation of that time, but mainly on the peculiarities of this issue coverage by the leading American printed media. The reference to the media as the main empirical source of this study allows not only perceiving the topic of emigration and repatriation in more detail, but also seeing the regularities of the political ‘face’ of the American press of that time. This study enables us to expand the usual framework of knowledge of emigration against the background of its historical and cultural development in the 20th century.

Rescued from the Brink: the Collapse and Resurgence of Wycliffe Hall, Oxford

2008 ◽  
Vol 44 ◽  
pp. 354-364
Author(s):  
Andrew Atherstone
Keyword(s):  
Church Of England ◽  
First World War ◽  
Conservative Estimate ◽  
World War ◽  
The First World War ◽  
The 1960S ◽  
First Time ◽  
First World ◽  
The Church

The twenty-five theological colleges of the Church of England entered the 1960s in buoyant mood. Rooms were full, finances were steadily improving, expansion seemed inevitable. For four years in succession, from 1961 to 1964, ordinations exceeded six hundred a year, for the first time since before the First World War, and the peak was expected to rise still higher. In a famously misleading report, the sociologist Leslie Paul predicted that at a ‘conservative estimate’ there would be more than eight hundred ordinations a year by the 1970s. In fact, the opposite occurred. The boom was followed by bust, and the early 1970s saw ordinations dip below four hundred. The dramatic plunge in the number of candidates offering themselves for Anglican ministry devastated the theological colleges. Many began running at a loss and faced imminent bankruptcy. In desperation the central Church authorities set about closing or merging colleges, but even their ruthless cutbacks could not keep pace with the fall in ordinands.

Characterization of the early development of specific hypaxial muscles from the ventrolateral myotome

Development ◽  
1999 ◽  
Vol 126 (19) ◽  
pp. 4305-4315 ◽  
Author(s):  
Y. Cinnamon ◽  
N. Kahane ◽  
C. Kalcheim
Keyword(s):  
Confocal Microscopy ◽  
Early Development ◽  
Early Generation ◽  
Intercostal Muscles ◽  
Fundamental Component ◽  
Vital Dyes ◽  
First Time ◽  
Second Wave ◽  
Longitudinal Cell

We have previously found that the myotome is formed by a first wave of pioneer cells generated along the medial epithelial somite and a second wave emanating from the dorsomedial lip (DML), rostral and caudal edges of the dermomyotome (Kahane, N., Cinnamon, Y. and Kalcheim, C. (1998a) Mech. Dev. 74, 59–73; Kahane, N., Cinnamon, Y. and Kalcheim, C. (1998b) Development 125, 4259–4271). In this study, we have addressed the development and precise fate of the ventrolateral lip (VLL) in non-limb regions of the axis. To this end, fluorescent vital dyes were iontophoretically injected in the center of the VLL and the translocation of labeled cells was followed by confocal microscopy. VLL-derived cells colonized the ventrolateral portion of the myotome. This occurred following an early longitudinal cell translocation along the medial boundary until reaching the rostral or caudal dermomyotome lips from which fibers emerged into the myotome. Thus, the behavior of VLL cells parallels that of their DML counterparts which colonize the opposite, dorsomedial portion of the myotome. To precisely understand the way the myotome expands, we addressed the early generation of hypaxial intercostal muscles. We found that intercostal muscles were formed by VLL-derived fibers that intermingled with fibers emerging from the ventrolateral aspect of both rostral and caudal edges of the dermomyotome. Notably, hypaxial intercostal muscles also contained pioneer myofibers (first wave) showing for the first time that lateral myotome-derived muscles contain a fundamental component of fibers generated in the medial domain of the somite. In addition, we show that during myotome growth and evolution into muscle, second-wave myofibers progressively intercalate between the pioneer fibers, suggesting a constant mode of myotomal expansion in its dorsomedial to ventrolateral extent. This further suggests that specific hypaxial muscles develop following a consistent ventral expansion of a ‘compound myotome’ into the somatopleure.

‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away

2021 ◽  
Vol 18 (2) ◽  
pp. 176-197
Author(s):  
Llewella Chapman
Keyword(s):  
Case Studies ◽  
Film Industry ◽  
Financial Resources ◽  
Film Production ◽  
New Wave ◽  
Tom Jones ◽  
The 1960S ◽  
Karel Reisz

From the early 1960s, the British film industry was increasingly reliant on American studio financed ‘runaway’ productions. Alexander Walker identifies United Artists and Universal Pictures as two of the major players in the trend he dubbed ‘Hollywood England’. This article offers a close examination of the role of two studios in the financing of British film production by making extensive use of the Film Finances Archive. It focuses on two case studies: Tom Jones (1963) and Isadora (1968), both of which had completion guarantees from Film Finances, and will argue that Tony Richardson and Karel Reisz, two of the key British New Wave directors, lost their previous ability to direct films to budget and within schedule when they had the financial resources of American studios behind them. It will analyse how, due to a combination of ‘artistic’ intent and Hollywood money, Richardson and Reisz separately created two of the most notorious ‘runaways’ that ran away during the 1960s.

Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema

2019 ◽  
pp. 41-62
Author(s):  
Maya Montañez Smukler
Keyword(s):  
Women Directors ◽  
Female Characters ◽  
American Cinema ◽  
New Hollywood ◽  
Second Wave Feminism ◽  
Feminist Film ◽  
The 1960S ◽  
First Time ◽  
Second Wave ◽  
Made In

Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, increased for the first time in forty years. May’s interest in misfit characters, as socially awkward as they were delusional, and her ability to seamlessly move them between comedy and drama, typified the New Hollywood protagonist who captured America’s uneasy transition from the hopeful rebellion of the 1960s into the narcissistic angst of the 1970s. However, the filmmaker’s reception, which culminated in the critical lambast of her comeback film Ishtar in 1987, was uneven: her battles with studio executives are legendary; feminist film critics railed against her depiction of female characters; and a former assistant claimed she set back women directors by her inability to meet deadlines. This chapter investigates Elaine May’s career within the lore 1970s Hollywood to understand the industrial and cultural circumstances that contributed to the emergence of her influential body of work; and the significant contributions to cinema she made in spite of, and perhaps because of, the conflicts in which she was faced.

Joanna Russ and the New Wave

Joanna Russ ◽  
2019 ◽  
pp. 20-38
Author(s):  
Gwyneth Jones
Keyword(s):  
Science Fiction ◽  
Star Trek ◽  
New Wave ◽  
Protest Movements ◽  
Joanna Russ ◽  
Modernist Novel ◽  
The 1960S

“Experiment and Experience” covers Joanna’s first years as a reviewer for the Magazine of Fantasy and Science Fiction, under the editorship of Judith Merril, and her first post as a university teacher at Cornell, and discusses modernism in sf, Joanna’s role as interpreter of the British “New Worlds” writers and the American New Wave and her response to the protest movements and cultural revolutions of the 1960s (in the psychedelic “Modernist novel by a Star Trek fan”) And Chaos Died. Essays and stories (1968-1971) examined include the important “The Wearing Out of Genre Materials,” and autobiographical short fictions that foreshadow The Female Man and illuminate And Chaos Died.

Poverty, Punishment, and Public Assistance

2017 ◽  
Author(s):  
Catherine E. Rymph
Keyword(s):  
Foster Care ◽  
Public Assistance ◽  
Policy Changes ◽  
Children Of Color ◽  
Federal Funds ◽  
Dependent Children ◽  
The Creation ◽  
The 1960S ◽  
The Impact ◽  
First Time

This chapter explores policy changes in the 1960s that for the first time allowed federal funds to be spent on board payments but which also made foster care a more punitive system, now firmly linked to public assistance, in which children of color were overrepresented. It looks particularly at the impact of the creation of Aid to Families with Dependent Children-Foster Care (AFDC-FC) in making foster care in this transition.

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