標(biāo)題: Titlebook: EMI Films and the Limits of British Cinema; Paul Moody Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Transnational cinema [打印本頁] 作者: Affordable 時(shí)間: 2025-3-21 17:48
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作者: 與野獸博斗者 時(shí)間: 2025-3-21 21:58 作者: Mangle 時(shí)間: 2025-3-22 01:25
https://doi.org/10.1007/978-3-319-94803-4Transnational cinema; Elstree Studios; 1970s; national culture; cinema; drama; The Railway Children; Electr作者: 準(zhǔn)則 時(shí)間: 2025-3-22 04:40 作者: IVORY 時(shí)間: 2025-3-22 11:48 作者: 開花期女 時(shí)間: 2025-3-22 14:04 作者: 開花期女 時(shí)間: 2025-3-22 20:16 作者: entail 時(shí)間: 2025-3-22 22:18
https://doi.org/10.1007/978-3-322-81107-3 which lost the company over $20?million. Using documents from the BBFC and the private papers of some of the key directors and producers during this period, the chapter analyses the various problems faced by the company until its eventual takeover by Thorn.作者: 自制 時(shí)間: 2025-3-23 02:07 作者: observatory 時(shí)間: 2025-3-23 08:29 作者: hidebound 時(shí)間: 2025-3-23 12:26 作者: gangrene 時(shí)間: 2025-3-23 15:33
?konomik der Anlage und Erhaltungwo maverick directors worked within the confines of what was by then Britain’s largest film company. But while . justified Forbes’ approach by securing the Palme D’Or, this chapter argues that EMI’s . was a much more apt metaphor for Forbes’ experiences at EMI, culminating in his resignation and Del作者: 易發(fā)怒 時(shí)間: 2025-3-23 20:02
https://doi.org/10.1007/978-3-642-50722-9rs with EMI, and argues that this portrayal is unfair. Films such as ., ., and . were some of the more interesting British productions of the early 1970s and were all produced under Cohen’s reign. And while he was also responsible for several more commercial co-productions with Hammer Films, such as作者: 簡(jiǎn)潔 時(shí)間: 2025-3-23 22:41
Computational Imaging and Vision. and its sequel, ., and several sitcom films, including both . spin-offs. Cohen also developed major interventions in two other genres during this period, both of which are analysed here: the thriller films . and ., and a series of music-themed vehicles for leading 1970s pop stars Roy Harper, Cliff作者: 樹木中 時(shí)間: 2025-3-24 04:10
n a British murder mystery tradition. This chapter argues that its phenomenal international success marks the moment that the relationship between EMI and British cinema becomes skewed, and in which it first became a truly transnational company. This pointed the way forward for Delfont’s vision for 作者: Reverie 時(shí)間: 2025-3-24 07:36
Der Wiederaufbau der Deutschen Schweinezuchtfits. Thus, Delfont gradually took more control, stepping in to co-produce some major Hollywood productions with Columbia, including .. But when the opportunity for a merger with an exciting British company presented itself, he saw an opportunity to extend this activity further. This chapter analyse作者: cravat 時(shí)間: 2025-3-24 12:06
https://doi.org/10.1007/978-3-322-81107-3 which lost the company over $20?million. Using documents from the BBFC and the private papers of some of the key directors and producers during this period, the chapter analyses the various problems faced by the company until its eventual takeover by Thorn.作者: Antimicrobial 時(shí)間: 2025-3-24 15:00
https://doi.org/10.1007/978-981-10-7239-0ritish industry had enjoyed until then. This chapter shows how EMI adapted during this period to produce a series of smaller-scale dramas that were some of the most interesting and challenging films the company made, all under the leadership of Verity Lambert. Her final release, the John Cleese vehi作者: 我說不重要 時(shí)間: 2025-3-24 21:06 作者: Abjure 時(shí)間: 2025-3-25 02:07 作者: Insubordinate 時(shí)間: 2025-3-25 03:47
e creation of cultural canons and the definition of national culture. This book argues that EMI’s amorphous nature as a transnational film company has led to its omission from this history and makes it an ideal subject to explore the ‘limits’ of British cinema.978-3-030-06918-6978-3-319-94803-4作者: 連累 時(shí)間: 2025-3-25 09:13 作者: 追逐 時(shí)間: 2025-3-25 13:19
And Soon the Darkness,orbes to head up its new filmmaking division. By analysing their first three releases, ., ., and ., the chapter outlines how Forbes and Delfont constructed their filmmaking philosophy, a conservative and explicitly ‘British’ approach to their productions that was influenced by Forbes’ friendship wit作者: JUST 時(shí)間: 2025-3-25 17:43 作者: 美食家 時(shí)間: 2025-3-25 20:38
Mr Forbes and the Pen-Pushers,wo maverick directors worked within the confines of what was by then Britain’s largest film company. But while . justified Forbes’ approach by securing the Palme D’Or, this chapter argues that EMI’s . was a much more apt metaphor for Forbes’ experiences at EMI, culminating in his resignation and Del作者: Deceit 時(shí)間: 2025-3-26 01:32
All the Way Up,rs with EMI, and argues that this portrayal is unfair. Films such as ., ., and . were some of the more interesting British productions of the early 1970s and were all produced under Cohen’s reign. And while he was also responsible for several more commercial co-productions with Hammer Films, such as作者: 減至最低 時(shí)間: 2025-3-26 05:12 作者: 爭(zhēng)論 時(shí)間: 2025-3-26 08:29
Trick or Treat?,n a British murder mystery tradition. This chapter argues that its phenomenal international success marks the moment that the relationship between EMI and British cinema becomes skewed, and in which it first became a truly transnational company. This pointed the way forward for Delfont’s vision for 作者: RECUR 時(shí)間: 2025-3-26 13:57
American Adventure,fits. Thus, Delfont gradually took more control, stepping in to co-produce some major Hollywood productions with Columbia, including .. But when the opportunity for a merger with an exciting British company presented itself, he saw an opportunity to extend this activity further. This chapter analyse作者: GONG 時(shí)間: 2025-3-26 18:42 作者: 笨拙的我 時(shí)間: 2025-3-27 00:22 作者: 咽下 時(shí)間: 2025-3-27 01:26 作者: Isolate 時(shí)間: 2025-3-27 07:40
Book 2018rom 1969 to its eventual demise in 1986, EMI would produce many of the key works of seventies and eighties British cinema, ranging from popular family dramas like .The Railway Children. (Lionel Jeffries, 1970) through to critically acclaimed arthouse successes like .Britannia Hospital. (Lindsay Ande作者: Preserve 時(shí)間: 2025-3-27 12:27
Elstree Falling,almost stopped the screening of a film Forbes directed, . during the same period. Forbes’ tenure was nearing its end, and this chapter concludes with the forced merger with MGM, which was to mark the start of EMI shifting its production policy away from Forbes’ initial vision.作者: VERT 時(shí)間: 2025-3-27 13:43
The Likely Lad,riod, both of which are analysed here: the thriller films . and ., and a series of music-themed vehicles for leading 1970s pop stars Roy Harper, Cliff Richard, and David Essex, whose . is presented as a pivotal film in EMI’s history, which was a catalyst to its eventual shift into transnational production.作者: Wordlist 時(shí)間: 2025-3-27 20:00 作者: 手銬 時(shí)間: 2025-3-27 23:07
https://doi.org/10.1007/978-3-658-35399-5ure as a transnational company. This chapter concludes with the broader question ‘where does “national” cinema end and “transnational” cinema begin?’, and therefore ‘what are the limits of British cinema’?作者: Commemorate 時(shí)間: 2025-3-28 03:48
https://doi.org/10.1007/978-81-322-1976-7h Edward Heath. Using archival documents from Bryan Forbes’ private papers, the chapter places the productions within the context of the industrial?issues at EMI’s Elstree Studios base and analyses the issues which would ultimately lead to Forbes’ downfall.作者: 背書 時(shí)間: 2025-3-28 08:40 作者: MILL 時(shí)間: 2025-3-28 14:25
to reclaim EMI as part of a British filmmaking tradition. Ultimately, the history of EMI Films demonstrates that the limits of British cinema are more flexible and permeable than previous?authors have suggested.作者: 串通 時(shí)間: 2025-3-28 15:22
Introduction,ure as a transnational company. This chapter concludes with the broader question ‘where does “national” cinema end and “transnational” cinema begin?’, and therefore ‘what are the limits of British cinema’?作者: MONY 時(shí)間: 2025-3-28 21:56 作者: Vulvodynia 時(shí)間: 2025-3-28 23:11
All the Way Up, . and ., this chapter argues that Cohen’s funding enabled Hammer to produce some of its more challenging genre films such as ., and much?of its non-horror output, like . and ., which connected with many of the key political concerns of the early 1970s.作者: 滔滔不絕地說 時(shí)間: 2025-3-29 03:48
Conclusion,to reclaim EMI as part of a British filmmaking tradition. Ultimately, the history of EMI Films demonstrates that the limits of British cinema are more flexible and permeable than previous?authors have suggested.作者: SOB 時(shí)間: 2025-3-29 09:43
s return to more parochial films afterwards suggested that he was yesterday’s man, and the disastrous failure of ., which was abandoned halfway through production, is analysed at the end of the chapter as the moment when Cohen’s Midas touch finally leaves him.作者: Pigeon 時(shí)間: 2025-3-29 12:57
