History
Origins and silent films
The world's first moving picture was shot inThe early sound period
Scottish solicitor John Maxwell foundedSecond World War
Published in ''The Times'' on 5 September 1939, two days after Britain declared war on Germany, George Bernard Shaw’s letter protested against a government order to close all places of entertainment, including cinemas. ‘What agent of Chancellor Hitler is it who has suggested that we should all cower in darkness and terror “for the duration”?’. Within two weeks of the order cinemas in the provinces were reopened, followed by central London within a month. In 1940, cinema admissions figures rose, to just over 1 billion for the year, and they continued rising to over 1.5 billion in 1943, 1944 and 1945. Humphrey Jennings began his career as a documentary film maker just before the war, in some cases working in collaboration with co-directors. ''London Can Take It'' (with Harry Watt (director), Harry Wat, 1940) detailed the Blitz while ''Listen to Britain'' (with Stewart McAllister, 1942) looked at the home front. The Crown Film Unit, part of the Ministry of Information (United Kingdom), Ministry of Information took over the responsibilities of the GPO Film Unit in 1940. Paul Rotha and Alberto Cavalcanti were colleagues of Jennings. British films began to make use of documentary techniques; Cavalcanti joined Ealing Studios, Ealing for ''Went the Day Well?'' (1942), Many other films helped to shape the popular image of the nation at war. Among the best known of these films are ''In Which We Serve'' (1942), ''We Dive at Dawn'' (1943), ''Millions Like Us'' (1943) and ''The Way Ahead'' (1944). The war years also saw the emergence of Powell and Pressburger, The Archers partnership between director Michael Powell and the Hungarian-born writer-producerPost-war cinema
Towards the end of the 1940s, the Rank Organisation became the dominant force behind British film-making, having acquired a number of British studios and the Gaumont chain (in 1941) to add to its Odeon Cinemas. Rank's serious financial crisis in 1949, a substantial loss and debt, resulted in the contraction of its film production. In practice, Rank maintained an industry duopoly with ABPC (later absorbed by EMI) for many years. For the moment, the industry hit new heights of creativity in the immediate post-war years. Among the most significant films produced during this period were David Lean's ''Brief Encounter'' (1945) and his Dickens adaptations ''Great Expectations (1946 film), Great Expectations'' (1946) and ''Oliver Twist (1948 film), Oliver Twist'' (1948), Ken Annakin's comedy ''Miranda (1948 film), Miranda'' (1948) starringSocial realism
The British New Wave film makers attempted to produce social realism, social realist films (see also 'kitchen sink realism') attempted in commercial feature films released between around 1959 and 1963 to convey narratives about a wider spectrum of people in Britain than the country's earlier films had done. These individuals, principally Karel Reisz, Lindsay Anderson and Tony Richardson, were also involved in the short lived Oxford film journal ''Sequence (journal), Sequence'' and the "Free Cinema" documentary film movement. The 1956 statement of Free Cinema, the name was coined by Anderson, asserted: "No film can be too personal. The image speaks. Sounds amplifies and comments. Size is irrelevant. Perfection is not an aim. An attitude means a style. A style means an attitude." Anderson, in particular, was dismissive of the commercial film industry. Their documentary films included Anderson's ''Every Day Except Christmas'', among several sponsored by Ford of Britain, and Richardson's ''Momma Don't Allow''. Another member of this group, John Schlesinger, made documentaries for the BBC's ''Monitor (UK TV series), Monitor'' arts series. Together with future James Bond co-producer Harry Saltzman, dramatist John Osborne and Tony Richardson established the company Woodfall Films to produce their early feature films. These included adaptations of Richardson's stage productions of Osborne's ''Look Back in Anger (1959 film), Look Back in Anger'' (1959), with Richard Burton, and ''The Entertainer (film), The Entertainer'' (1960) with Laurence Olivier, both from Osborne's own screenplays. Such films as Reisz's ''Saturday Night and Sunday Morning (film), Saturday Night and Sunday Morning'' (also 1960), Richardson's ''A Taste of Honey (film), A Taste of Honey'' (1961), Schlesinger's ''A Kind of Loving (film), A Kind of Loving'' (1962) and ''Billy Liar (film), Billy Liar'' (1963), and Anderson's ''This Sporting Life'' (1963) are often associated with a new openness about working-class life or previously taboo issues. The team of Basil Dearden and Michael Relph, from an earlier generation, "probe[d] into the social issues that now confronted social stability and the establishment of the promised peacetime consensus".Tim O'SullivanThe 1960s
As the 1960s progressed, American studios returned to financially supporting British films, especially those that capitalised on the "swinging London" image propagated by ''Time (magazine), Time'' magazine in 1966. Films like ''Darling (1965 film), Darling'', ''The Knack ...and How to Get It'' (both 1965), ''Alfie (1966 film), Alfie'' and ''Georgy Girl'' (both 1966), all explored this phenomenon. ''Blowup'' (also 1966), and later ''Women in Love (film), Women in Love'' (1969), showed female and then male full-frontal nudity on screen in mainstream British films for the first time. At the same time, film producers Harry Saltzman and Albert R. Broccoli combined sex with exotic locations, casual violence and self-referential humour in the phenomenally successful James Bond (film series), James Bond series with Sean Connery in the leading role. The first film ''Dr. No (film), Dr. No'' (1962) was a sleeper hit in the UK and the second, ''From Russia with Love (film), From Russia with Love'' (1963), a hit worldwide. By the time of the third film, ''Goldfinger (film), Goldfinger'' (1964), the series had become a global phenomenon, reaching its commercial peak with ''Thunderball (film), Thunderball'' the following year. The series' success led to a spy film boom with many Bond imitations. Bond co-producer Saltzman also instigated a rival series of more realistic spy films based on the novels of Len Deighton.1970s
American studios cut back on British productions, and in many cases withdrew from financing them altogether. Films financed by American interests were still being made, including Billy Wilder's ''The Private Life of Sherlock Holmes'' (1970), but for a time funds became hard to come by. More relaxed censorship also brought several controversial films, including Nicolas Roeg and Donald Cammell's ''Performance (film), Performance'', Ken Russell's ''The Devils (film), The Devils'' (1971), Sam Peckinpah's ''Straw Dogs (1971 film), Straw Dogs'' (1971), and Stanley Kubrick's ''A Clockwork Orange (film), A Clockwork Orange'' (1971) starring Malcolm McDowell as the leader of a gang of thugs in a dystopian future Britain. Other films during the early 1970s included the Edwardian drama ''The Go-Between (1971 film), The Go-Between'' (1971), which won the Palme d'Or at the Cannes Film Festival, Nicolas Roeg's Venice-set supernatural thriller ''Don't Look Now'' (1973) and Mike Hodges' gangster drama ''Get Carter'' (1971) starring1980s
In 1980, only 31 British films were made, a 50% decline from the previous year and the lowest number since 1914, and production fell again in 1981 to 24 films. The industry suffered further blows from falling cinema attendances, which reached a record low of 54 million in 1984, and the elimination of the 1957 Eady Levy, a tax concession, in the same year. The concession had made it possible for an overseas based film company to write off a large amount of its production costs by filming in the UK – this was what attracted a succession of big-budget American productions to British studios in the 1970s. These factors led to significant changes in the industry, with the profitability of British films now "increasingly reliant on secondary markets such as video and television, and Channel 4 ... [became] a crucial part of the funding equation." With the removal of the levy, Multiplex (movie theater), multiplex cinemas were introduced to the United Kingdom with the opening of a ten-screen cinema by AMC Cinemas at The Point, Milton Keynes, The Point in Milton Keynes in 1985 and the number of screens in the UK increased by around 500 over the decade leading to increased attendances of almost 100 million by the end of the decade. The 1980s soon saw a renewed optimism, led by smaller independent production companies such as1990s
Compared to the 1980s, investment in film production rose dramatically. In 1989, annual investment was a meagre £104 million. By 1996, this figure had soared to £741 million. Nevertheless, the dependence on finance from television broadcasters such as the BBC and Channel 4 meant that budgets were often low and indigenous production was very fragmented: the film industry mostly relied on Hollywood inward investment. According to critic Neil Watson, it was hoped that the £90 million apportioned by the new National Lottery (United Kingdom), National Lottery into three franchises (The Film Consortium, Pathé Pictures, and DNA) would fill the gap, but "corporate and equity finance for the UK film production industry continues to be thin on the ground and most production companies operating in the sector remain hopelessly under-capitalised." These problems were mostly compensated by PolyGram Filmed Entertainment, a film studio whose British subsidiary Working Title Films released a Richard Curtis-scripted comedy ''Four Weddings and a Funeral'' (1994). It grossed $244 million worldwide and introduced2000s
The first decade of the 21st century was a relatively successful one for the British film industry. Many British films found a wide international audience due to funding from BBC Films, Film 4 and the UK Film Council, and some independent production companies, such as Working Title, secured financing and distribution deals with major American studios. Working Title scored three major international successes, all starring Hugh Grant and Colin Firth, with the romantic comedies ''Bridget Jones's Diary (film), Bridget Jones's Diary'' (2001), which grossed $254 million worldwide; the sequel ''Bridget Jones: The Edge of Reason'', which earned $228 million; and Richard Curtis's directorial debut ''Love Actually'' (2003), which grossed $239 million. The most successful of all, Phyllida Lloyd's ''Mamma Mia! (film), Mamma Mia!'' (2008), grossed $601 million. The new decade saw a major new film series in the Harry Potter films, beginning with ''Harry Potter and the Philosopher's Stone'' in 2001. David Heyman's company Heyday Films has produced seven sequels, with the final title released in two parts – ''Harry Potter and the Deathly Hallows – Part 1'' in 2010 and ''Harry Potter and the Deathly Hallows – Part 2'' in 2011. All were filmed at Leavesden Studios in England. Aardman Animations' Nick Park, the creator of Wallace and Gromit and the Creature Comforts series, produced his first feature-length film, ''Chicken Run'' in 2000. Co-directed with Peter Lord, the film was a major success worldwide and one of the most successful British films of its year. Park's follow up, ''Wallace & Gromit: The Curse of the Were-Rabbit'' was another worldwide hit: it grossed $56 million at the US box office and £32 million in the UK. It also won the 2005 Academy Award for Best Animated Feature. However it was usually through domestically funded features throughout the decade that British directors and films won awards at the top international film festivals. In 2003, Michael Winterbottom won the Golden Bear at the Berlin Film Festival for ''In This World''. In 2004, Mike Leigh directed ''Vera Drake'', an account of a housewife who leads a double life as an abortion provider in 1950s London. The film won the Golden Lion at the Venice Film Festival. In 2006 Stephen Frears directed ''The Queen (2006 film), The Queen'' based on the events surrounding the death of Princess Diana, which won the Best Actress prize at the Venice Film Festival and Academy Awards and the BAFTA for Best Film. In 2006, Ken Loach won the Palme d'Or at the Cannes Film Festival with his account of the struggle for Irish Independence in ''The Wind That Shakes the Barley''. Joe Wright's adaptation of the Ian McEwan novel ''Atonement (2007 film), Atonement'' was nominated for 7 Academy Awards, including Best Film and won the Golden Globe and BAFTA for Best Film. ''Slumdog Millionaire'' was filmed entirely in Mumbai with a mostly Indian cast, though with a British director (Danny Boyle), producer (Christian Colson), screenwriter (Simon Beaufoy) and star (Dev Patel)—the film was all-British financed via Film4 and Celador. It has received worldwide critical acclaim. It has won four Golden Globes, seven BAFTA Awards and eight Academy Awards, including Best Director and Best Film. ''The King's Speech'', which tells the story of King George VI's attempts to overcome his speech impediment, was directed by Tom Hooper (director), Tom Hooper and filmed almost entirely in London. It received four Academy Awards (including Best Film, Best Director, Best Actor and Best Screenplay) in 2011. The start of the 21st century saw Asian British cinema assert itself at the box office, starting with ''East Is East (1999 film), East Is East'' (1999) and continuing with ''Bend It Like Beckham'' (2002). Other notable British Asian films from this period include ''My Son the Fanatic'' (1997), ''Ae Fond Kiss... (2004)'', ''Mischief Night (2006 film), Mischief Night (2006)'', ''Yasmin (2004 film), Yasmin'' (2004) and ''Four Lions'' (2010). Some argue it has brought more flexible attitudes towards casting Black and Asian British actors, with Robbie Gee and Naomie Harris take leading roles in ''Underworld (2003 film), Underworld'' and ''28 Days Later'' respectively. 2005 saw the emergence of The British Urban Film Festival, a timely addition to the film festival calendar, which recognised the influence of urban and black films on UK audiences and consequently began to showcase a growing profile of films in a genre previously not otherwise regularly seen in the capital's cinemas. Then, in 2006, ''Kidulthood'', a film depicting a group of teenagers growing up on the streets of West London, had a limited release. This was successfully followed up with a sequel ''Adulthood (film), Adulthood'' (2008) that was written and directed by actor Noel Clarke. The success of ''Kidulthood'' and ''Adulthood'' led to the release of several other films in the 2000s and 2010s such as ''Bullet Boy'' (2004), ''Life and Lyrics'' (2006), ''The Intent'' (2016), its sequel ''The Intent 2: The Come Up'' (2018), ''Blue Story'' and ''Rocks (film), Rocks'' (both 2019), all of starred Black-British actors. Like the 1960s, this decade saw plenty of British films directed by imported talent. The American Woody Allen shot ''Match Point'' (2005) and three later films in London. The Mexican director Alfonso Cuarón helmed ''Harry Potter and the Prisoner of Azkaban (film), Harry Potter and the Prisoner of Azkaban'' (2004) and ''Children of Men'' (2006); New Zealand filmmaker Jane Campion made ''Bright Star (film), Bright Star'' (2009), a film set in 19th century London; Danish director Nicolas Winding Refn made ''Bronson (film), Bronson'' (2008), a biopic about the English criminal Michael Gordon Peterson; the Spanish filmmaker Juan Carlos Fresnadillo directed ''28 Weeks Later'' (2007), a sequel to a British horror film; and two John le Carré adaptations were also directed by foreigners—''The Constant Gardener (film), The Constant Gardener'' by the Brazilian Fernando Meirelles and ''Tinker Tailor Soldier Spy (film), Tinker Tailor Soldier Spy'' by the Swedish Tomas Alfredson. The decade also saw English actor Daniel Craig became the new James Bond with ''Casino Royale (2006 film), Casino Royale'', the 21st entry in the official Eon Productions series. Despite increasing competition from film studios in Australia and Eastern Europe, British studios such as Pinewood Studios, Pinewood, Shepperton Studios, Shepperton and Leavesden Film Studios, Leavesden remained successful in hosting major productions, including ''Finding Neverland (film), Finding Neverland'', ''Closer (2004 film), Closer'', ''Batman Begins'', ''Charlie and the Chocolate Factory (film), Charlie and the Chocolate Factory'', ''United 93 (film), United 93'', ''The Phantom of the Opera (2004 film), The Phantom of the Opera'', ''Sweeney Todd: The Demon Barber of Fleet Street (2007 film), Sweeney Todd'', ''Fantastic Mr. Fox (film), Fantastic Mr. Fox'', ''Robin Hood (2010 film), Robin Hood'', ''X-Men: First Class'', ''Hugo (film), Hugo'' and ''War Horse (film), War Horse''. In February 2007, the UK became home to Europe's first DCI-compliant fully digital cinema, digital multiplex cinemas with the launch of Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens. In November 2010, Warner Bros. completed the acquisition of Warner Bros. Studios, Leavesden, Leavesden Film Studios, becoming the first Hollywood studio since the 1940s to have a permanent base in the UK, and announced plans to invest £100 million in the site. A study by the2010s
On 26 July 2010 it was announced that the UK Film Council, which was the main body responsible for the development of promotion of British cinema during the 2000s, would be abolished, with many of the abolished body's functions being taken over by the2020s
In November 2022, director Danny Boyle expressed a negative sentiment of the British film industry in recent years, stating that "I am not sure we are great filmmakers, to be absolutely honest. As a nation, our two artforms are theatre, in a middle-class sense, and pop music, because we are extraordinary at it."Art cinema
Although it had been funding British experimental films as early as 1952, theFilm technology
In the 1970s and 1980s, British studios established a reputation for great special effects in films such as ''Superman (1978 film), Superman'' (1978), ''Alien (film), Alien'' (1979), and ''Batman (1989 film), Batman'' (1989). Some of this reputation was founded on the core of talent brought together for the filming of ''2001: A Space Odyssey (film), 2001: A Space Odyssey'' (1968) who subsequently worked together on series and feature films for Gerry Anderson. Thanks to the Bristol-based Aardman Animations, the UK is still recognised as a world leader in the use of stop-motion animation. British special effects technicians and production designers are known for creating visual effects at a far lower cost than their counterparts in the US, as seen in ''Time Bandits'' (1981) and ''Brazil (1985 film), Brazil'' (1985). This reputation has continued through the 1990s and into the 21st century with films such as the James Bond (film series), James Bond series, ''Gladiator (2000 film), Gladiator'' (2000) and the Harry Potter franchise. From the 1990s to the present day, there has been a progressive movement from traditional film opticals to an integrated digital film environment, with special effects, cutting, colour grading, and other post-production tasks all sharing the same all-digital infrastructure. The London-based visual effects company Framestore, with Tim Webber the visual effects supervisor, have worked on some of the most technically and artistically challenging projects, including, ''The Dark Knight (film), The Dark Knight'' (2008) and ''Gravity (2013 film), Gravity'' (2013), with new techniques involved in ''Gravity'' realized by Webber and the Framestore team taking three years to complete.Nick RoddickSee also
* British Academy Film Awards, hosted by theReferences
Further reading
;General * Aldgate, Anthony and Richards Jeffrey. 2002. ''Best of British: Cinema and Society from 1930 to the Present''. London: I.B. Tauris * Babington, Bruce; Ed. 2001.''British Stars and Stardom''. Manchester: Manchester University Press * Chibnall, Steve and Murphy, Robert; Eds. 1999. ''British Crime Cinema''. London: Routledge * Cook, Pam. 1996. ''Fashioning the Nation: Costume and Identity in British Cinema''. London BFI * Curran, James and Porter, Vincent; Eds. 1983. ''British Cinema History''. London: Weidenfeld & Nicolson * * Harper, Sue. 2000. ''Women in British Cinema: Mad Bad and Dangerous to Know''. London: Continuum * Higson, Andrew. 1995. ''Waving the Flag: Constructing a National Cinema in Britain''. Oxford: Oxford University Press * Higson, Andrew. 2003. ''English Heritage, English Cinema''. Oxford: Oxford University Press. * Hill, John. 1986. ''Sex, Class and Realism''. London: BFI * Landy, Marcia. 1991. ''British Genres: Cinema and Society, 1930–1960''. Princeton University Press * Lay, Samantha. 2002. ''British Social Realism''. London: Wallflower * * Monk, Claire and Sargeant, Amy. 2002. ''British Historical Cinema''. London Routledge * Murphy, Robert; Ed. 2001. ''British Cinema Book 2nd Edition''. London: BFI * Perry, George. 1988. ''The Great British Picture Show''. Little Brown, 1988. * Richards, Jeffrey. 1997. '' Films and British national identity / From Dickens to Dad's Army ''. Manchester University Press * Street, Sarah. 1997. ''British National Cinema''. London: Routledge. * ;Pre–World War II * Low, Rachael. 1985. ''Film Making in 1930s Britain''. London: George, Allen and Unwin * Rotha, Paul. 1973. ''Documentary diary; an informal history of the British documentary film, 1928–1939'', New York: Hill and Wang * Swann, Paul. 2003. ''The British Documentary Film Movement, 1926–1946''. Cambridge University Press ;World War II * Aldgate, Anthony and Richards, Jeffrey 2nd Edition. 1994. ''Britain Can Take it: British Cinema in the Second World War''. Edinburgh: Edinburgh University Press * Barr, Charles; Ed. 1986. ''All Our Yesterdays: 90 Years of British Cinema''. London: British Film Institute * Murphy, Robert. 2000. ''British Cinema and the Second World War''. London: Continuum * [fr] Rousselet, Francis ''Et le Cinéma Britannique entra en guerre ...'', Cerf-Corlet, 2009, 240pp. ;Post-War * Friedman, Lester; Ed. 1992. ''British Cinema and Thatcherism''. London: UCL Press * Geraghty, Christine. 2000. ''British Cinema in the Fifties: Gender Genre and the New Look''. London Routledge * Gillett, Philip. 2003. ''The British Working Class in Postwar Film''. Manchester: Manchester University Press * Murphy, Robert; Ed. 1996. ''Sixties British Cinema''. London: BFI * Shaw, Tony. 2001. ''British Cinema and the Cold War''. London: I.B. Tauris ;1990s * Brown, Geoff. 2000. ''Something for Everyone: British film Culture in the 1990s''. * Brunsdon, Charlotte. 2000. ''Not Having It All: Women and Film in the 1990s''. * Murphy, Robert; Ed. 2000. ''British Cinema of the 90s''. London: BFI ;Cinema and government * Dickinson, Margaret and Street, Sarah. 1985. ''Cinema and the State: The Film industry and the British Government, 1927–84''. London: BFI * Toby Miller, Miller, Toby. 2000. ''The Film Industry and the Government: Endless Mr Beans and Mr Bonds?'' *External links