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EMI Films and the Limits of British Cinema

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  • © 2018

Overview

Authors:
  1. Paul Moody

    1. Brunel University London, London, UK

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  • Based on new archival material, never before used by researchers
  • Revises our understanding of British culture in the 1970s and early 1980s
  • Features new work on some of the most important films ever made, including The Go-Between, The Railway Children, Family Life, Villain, The Deer Hunter, and Britannia Hospital

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Table of contents (11 chapters)

  1. Front Matter

    Pages i-x
    Download chapter PDF

  2. Introduction

    • Paul Moody
    Pages 1-10

  3. And Soon the Darkness

    • Paul Moody
    Pages 11-36

  4. Elstree Falling

    • Paul Moody
    Pages 37-55

  5. Mr Forbes and the Pen-Pushers

    • Paul Moody
    Pages 57-81

  6. All the Way Up

    • Paul Moody
    Pages 83-101

  7. The Likely Lad

    • Paul Moody
    Pages 103-123

  8. Trick or Treat?

    • Paul Moody
    Pages 125-142

  9. American Adventure

    • Paul Moody
    Pages 143-160

  10. Honky Tonk Filmmaking

    • Paul Moody
    Pages 161-180

  11. Memoirs of a Survivor

    • Paul Moody
    Pages 181-203

  12. Conclusion

    • Paul Moody
    Pages 205-207

  13. Back Matter

    Pages 209-220
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Keywords

About this book

This book is the first of its kind to trace the development of one of the largest and most important companies in British cinema history, EMI Films. From 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 Anderson, 1982). However, EMI’s role in these productions has been recorded only marginally, as footnotes in general histories of British cinema. The reasons for this critical neglect raise important questions about the processes involved in the 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.

Reviews

“EMI Films and the Limits of British Cinema fills a clear gap in the existing literature on British cinema and offers a compelling analysis of a really tricky period of British film and cultural history. The period is characterised by fragmentation and contradictory currents which are difficult to map; Paul Moody has admirably succeeded in making sense of a complex historical moment, while still conveying the somewhat chaotic nature of the events under examination.” (Robert Shail, Leeds Beckett University, UK)

 

Authors and Affiliations

  • Brunel University London, London, UK

    Paul Moody

About the author

Paul Moody is Senior Lecturer in Media and Communications at Brunel University London, UK. 

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