British Film Institute Film And Television Handbook 1999

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From a near standing start in the 1970s, the emergence and expansion of an aesthetically and culturally distinctive Scottish cinema proved to be one of the most significant developments within late-twentieth and early twenty-first-century British film culture. Individual Scottish films and filmmakers have attracted notable amounts of critical attention as a result. The New Scottish Cinema, however, is the first book to trace Scottish film culture's industrial, creative and critical evolution in comprehensive detail across a forty-year period. On the one hand, it invites readers to reconsider the known - films such as Shallow Grave, Ratcatcher, The Magdalene Sisters, Young Adam, Red Road and The Last King of Scotland. On the other, it uncovers the overlooked, from the 1980s comedic film makers who followed in the footsteps of Bill Forsyth to the variety of present-day Scottish film making - a body of work that encompasses explorations of multiculturalism, exploitation of the macabre and much else in between.In addition to analysing an eclectic range of films and filmmakers, The New Scottish Cinema also examines the diverse industrial, institutional and cultural contexts which have allowed Scottish film to evolve and grow since the 1970s, and relates these to the images of Scotland which artists have put on screen. In so doing, the book narrates a story of interest to any student of contemporary British film.

The 1995 guide brings together a range of statistics on the cinema, television and video. Produced in consultation with leading trade publications and organizations, it includes coverage of producers, distributors, cinema, feature film releases, awards, press contacts and film workshops.

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This work examines major box office hits like 'The Full Monty' as well as critically acclaimed films like 'Under the Skin'. It explores the role of distribution and exhibition, the Americanisation of British film culture, Hollywood and Europe, changing representations of sexuality and ethnicity.

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This book offers a fresh approach to British film music by tracing the influence of Britain’s musical heritage on the film scores of this era. From the celebration of landscape and community encompassed by pastoral music and folk song, and the connection of both with the English Musical Renaissance, to the mystical strains of choral sonorities and the stirring effects of the march, this study explores the significance of music in British film culture. With detailed analyses of the work of such key filmmakers as Michael Powell and Emeric Pressburger, Laurence Olivier and Carol Reed, and composers including Ralph Vaughan Williams, William Walton and Brian Easdale, this systematic and in-depth study explores the connotations these musical styles impart to the films and considers how each marks them with a particularly British inflection.