scholarly journals A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry

2021 ◽  
Vol 18 (1) ◽  
pp. 34-49
Author(s):  
Laura Mayne
Keyword(s):  
Film Industry ◽  
New Wave ◽  
Scholarly Work ◽  
Box Office ◽  
The Press ◽  
British Cinema ◽  
1960S And 1970S ◽  
Business Acumen ◽  
The 1960S

Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona.

‘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.

English Gothic

2019 ◽  
pp. 79-98
Author(s):  
Bryan Turnock
Keyword(s):  
Film Industry ◽  
Source Material ◽  
Horror Films ◽  
Horror Film ◽  
Film Production ◽  
Box Office ◽  
The World ◽  
Iconic Images ◽  
1960S And 1970S ◽  
The 1960S

This chapter evaluates the British horror film industry. Given the country's input in the success of the Hollywood horror films of the 1930s, in terms of source material as well as technicians and actors, horror film production in Britain was remarkably slow to emerge. This was due in no small part to the stringent censorship rules of the British Board of Film Censorship/Classification (BBFC), who did their best to dissuade British studios from making such films. The chapter investigates how one studio took up the reins of the genre and went on to dominate it for almost two decades. Matched only by the golden age of Universal in the 1930s and 1940s, Hammer Films produced some of the genre's most iconic images and characters through dozens of productions, while breaking box-office records around the world. The chapter looks at Terence Fisher's The Curse of Frankenstein (1957), the company's first foray into the genre, one which would lay the foundations for their success and set the template for the English Gothic horror film as it flourished into the 1960s and 1970s.

scholarly journals Creating Destinations for a Better Tomorrow: UN Development Aid for Cultural Tourism in the 1960s

2021 ◽  
pp. 002200942097476
Author(s):  
Marie Huber
Keyword(s):  
Developing Countries ◽  
Development Aid ◽  
Employment Sector ◽  
Development Decade ◽  
Colonial Legacies ◽  
The Subject ◽  
1960S And 1970S ◽  
The 1960S ◽  
International Experts

Tourism is today considered as a crucial employment sector in many developing countries. In the growing field of historical tourism research, however, the relationships between tourism and development, and the role of international organizations, above all the UN, have been given little attention to date. My paper will illuminate how during the 1960s tourism first became the subject of UN policies and a praised solution for developing countries. Examples from expert consultancy missions in developing countries such as Ethiopia, India and Nepal will be contextualized within the more general debates and programme activities for heritage conservation and also the first UN development decade. Drawing on sources from the archives of UNESCO, as well as tourism promotion material, it will be possible to understand how tourism sectors in many so-called developing countries were shaped considerably by this international cooperation. Like in other areas of development aid, activities in tourism were grounded in scientific studies and based on statistical data and analysis by international experts. Examining this knowledge production is a telling exercise in understanding development histories colonial legacies under the umbrella of the UN during the 1960s and 1970s.

scholarly journals ‘Pungent Sex’ and ‘Room at the Bottom’: Reframing British Exploitation Films of the 1960s

2014 ◽  
Vol 6 (4) ◽  
Author(s):  
Michael Ahmed
Keyword(s):  
Film Industry ◽  
Early American ◽  
Cultural Currency ◽  
Production Distribution ◽  
British Cinema ◽  
Exploitation Films ◽  
Exploitation Film ◽  
The 1960S ◽  
Exhibition Strategies ◽  
Mode Of Production

Eric Schaefer, in his exploration of the American exploitation industry, has argued that exploitation cinema developed in opposition to mainstream Hollywood products. Furthermore, the topics and subject matter presented in early American exploitation films dealt with subjects Hollywood were unwilling to produce. As a result, the production, distribution and exhibition strategies developed by exploitation filmmakers differed markedly from the American mainstream film industry. However, in Britain (amongst critics and scholars) the exploitation film has no similar defining characteristics and is a term that has been applied to a wide variety of British films without regard to their industrial mode of production, distribution or exhibition. As a result, the cultural currency of the British exploitation film, as it is now understood, has no connection to the films they now describe, and often fails to take into account how these films were originally produced, marketed, distributed and exhibited. In the British film industry during the 1960s, the term ‘exploitation’ was used by the industry to refer to a wide variety of films which are now viewed differently by contemporary critics and academics. In other words, the currency of the term exploitation has changed from its original meaning. Therefore, this article is an attempt to reframe the debate around the meaning of the British exploitation film from the 1960s onwards, and to re-evaluate our understanding of the development of British cinema during this period.

A New Kind of Vanguard: Cuban−North Korean Discourse on Revolutionary Strategy for the Global South in the 1960s

2021 ◽  
pp. 1-24
Author(s):  
Moe Taylor
Keyword(s):  
Latin American ◽  
Global South ◽  
Leadership Role ◽  
Cuban Government ◽  
1960S And 1970S ◽  
The 1960S ◽  
Harsh Criticism ◽  
Latin American Left ◽  
Leftist Parties

Abstract During the 1960s, the Cuban government attempted to play a leadership role within the Latin American Left. In the process Cuban leaders departed from Marxist−Leninist orthodoxy, garnering harsh criticism from their Soviet and Chinese allies. Yet Cuba found a steadfast supporter of its controversial positions in North Korea. This support can in large part be explained by the parallels between Cuban and North Korean ideas about revolution in the developing nations of the Global South. Most significantly, both parties embraced a radical reconceptualisation of the role of the Marxist−Leninist vanguard party. This new doctrine appealed primarily to younger Latin American militants frustrated with the established leftist parties and party politics in general. The Cuban/North Korean theory of the party had a tangible influence in Colombia, Peru, Brazil, Puerto Rico, El Salvador, Mexico, Bolivia and Nicaragua, as revolutionary groups in these societies took up arms in the 1960s and 1970s.

Tanzania

Jah Kingdom ◽  
2017 ◽  
Author(s):  
Monique A. Bedasse
Keyword(s):  
Modern History ◽  
Safe Haven ◽  
Pan African ◽  
Pan Africanism ◽  
Freedom Fighters ◽  
African Context ◽  
1960S And 1970S ◽  
The 1960S

This chapter sets the pan-African context in which the repatriation occurs. In particular, it explains the rise of Tanzania as a safe haven for African freedom fighters and radical diasporic Africans in the 1960s and 1970s, connecting the repatriation to wider diasporic engagement with Tanzania in this period. It places ujamaa within the context of other African socialisms of the day and highlights the role of pan-Africanism in the making of Tanzania’s modern history.

Hammer and British Cinema

2016 ◽  
pp. 23-34
Author(s):  
Victoria Grace Walden
Keyword(s):  
Social Responsibility ◽  
The Other ◽  
National Cinema ◽  
Moving Image ◽  
Good Taste ◽  
The Press ◽  
British Cinema ◽  
History Of ◽  
The 1960S ◽  
The Relationship

This chapter examines the relationship between Hammer Films and British cinema. The history of British cinema has been characterised by a strong dedication to realism, in its many forms. From the documentaries of the 1930s with a focus on social responsibility to the gritty kitchen sink dramas of the 1960s, and even the naturalistic aesthetic of television police dramas, the British moving-image industries have a strong heritage of realism. If this is the case, Hammer horror, despite its international fame as a specifically British brand of filmmaking, does not seem characteristic of British national cinema at all. On one hand, Hammer's horrors are clearly fantastical; on the other hand, they amalgamate infrequent and abrupt moments of gore with a 'neat unpretentious realism'. Moreover, the films were lambasted in the press for not exhibiting 'good taste' or restraint. The chapter then assesses to what extent Hammer horror can be understood as British.

“It was a jet. It was a jet. It was a jet.”

2021 ◽  
pp. 3-21
Author(s):  
Jessica DuLong
Keyword(s):  
New York ◽  
The United States ◽  
Staten Island ◽  
Creative Problem ◽  
1960S And 1970S ◽  
The 1960S ◽  
Maritime Infrastructure ◽  
Maritime Community ◽  
The U.S

This chapter provides a background of the waterborne evacuation that happened after the events of 9/11. New York harbor was, and is, a busy place — the third largest container port in the United States and a vital connection between New York City and the rest of the world. Manhattan is an island, and the realities of island real estate are what ushered the port's industries off Manhattan's shores and over to Brooklyn, Staten Island, and New Jersey in the 1960s and 1970s. By late 2001, maritime infrastructure had been replaced with ornamental fencing. On September 11, 2001, as the cascade of catastrophe unfolded, people found their fates altered by the absence of that infrastructure and discovered themselves dependent upon the creative problem solving of New York harbor's maritime community — waterfront workers who had been thrust beyond their usual occupations and into the role of first responders. Long before the U.S. Coast Guard's call for “all available boats” crackled out over marine radios, scores of ferries, tugs, dinner boats, sailing yachts, and other vessels had begun converging along Manhattan's shores. Hundreds of mariners shared their skills and equipment to conduct a massive, unplanned rescue. Within hours, nearly half a million people had been delivered from Manhattan by boat.

Rocha, Glauber (1939–1981)

2018 ◽  
Author(s):  
Peter Baker
Keyword(s):  
New Wave ◽  
Brazilian Cinema ◽  
French New Wave ◽  
Revolutionary Violence ◽  
New Type ◽  
1960S And 1970S ◽  
Brazilian Film ◽  
The 1960S ◽  
New Generation ◽  
Film Critic

Glauber Rocha de Andrade (Vitória da Conquista, 1939–1981) was a Brazilian film critic, screenwriter, producer, and director. Arguably the most important director of the cinema nôvo (New Cinema) movement of the 1960s and 1970s, he began his career as a film critic, writing for well-known Brazilian journals about Italian neorealism and the French New Wave – two crucial influences on his own work. His writings criticized Brazil's commercial cinema and called for a new type of film that would represent the reality of Brazilian life. His most famous essay in this regard is "Estética da Fome" ("An Esthetic of Hunger," 1965). The essay reflects on the neo-colonial condition of Brazilian cinema through the analogy of the starvation of the Brazilian people and the intellectual starvation of its cinematic tradition; anti-colonial revolutionary violence is the only possible solution to these plights. This theoretical viewpoint is reflected in his Deu e o Diabo na Terra do Sol (Black God, White Devil, 1964), a film which earned him recognition on the international scene and in Brazil as the unchallenged leader of a new generation.

6. Winning strategies

2017 ◽  
pp. 76-96
Author(s):  
Tristram D. Wyatt
Keyword(s):  
Kin Selection ◽  
Behavioural Ecology ◽  
Economic Decisions ◽  
Winning Strategies ◽  
New Ideas ◽  
Evolution Of Eusociality ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Many

The field of behavioural ecology, developed in the 1960s and 1970s, offered new ideas and provided powerful ways of exploring how behaviour evolves. Behavioural ecology examines how the evolution of behaviour is related to an individual’s chance of survival or reproductive success. ‘Winning strategies’ considers the many successes of behavioural ecology in explaining different animal behaviours: the economic decisions made by certain species when feeding or during reproduction; the role of the sexes in parental care; mating systems; sperm competition and cryptic female choice; sexual conflict; altruistic behaviour; kin selection theory; cooperative breeding; and the evolution of eusociality.

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