Furthermore, the belief that X films were responsible for declining audiences, fails to reveal some of the more complex reasons behind the problems facing the British industry at this time. This was a position that came under frequent criticism by others in the industry, at a time when the British film business was struggling with declining cinema audiences. Throughout the s, interest in the domestic film industry from successive British Governments had frequently failed to react to the problems the industry was facing — an argument made by Paul Rotha in for an article published in Films and Filming. Later, when Geoffrey is trying to kiss Nicki, there is a rapid sequence of cuts between Nicki kissing her father and Geoffrey kissing Nicki, which gradually develops into an attempted rape by the young man. Furthermore, That Kind of Girl was reviewed by the trade press, and other middlebrow critical publications, although the film may not have enjoyed an overwhelming positive reception, the film was not marginalised or ignored, and was viewed as a mainstream British product. This is a different situation when compared to the American model because although exploitation cinema and Hollywood cinema existed alongside each other, they produced, distributed and exhibited films in different ways — as argued by Schaefer. However, the benefits of more money and a spectacular cast of well-known actors failed to translate into financial success.
They had done one, the girl with the little green dress or something. In opposition to this critical consensus was the type of the film that exploited controversial and sensational narratives, as well as explicit sex, violence or nudity within the context of the time. Kinematograph Weekly reported frequently on the decline in cinema audiences and noted the admission figures throughout year. These surveys might have established that television did not reduce cinema audiences however Tenser argued that the type of product television was offering was likely to keep cinemagoers at home. But that was the key always to making motion pictures, money and distribution. It dictates what we make, and what we fail to make. By the s, GNP was primarily operating as a distribution company.
Tenser and Klinger, instinctively knew that any publicity was good for their product, a factor many in the rest of the industry gradually began to understand, but often cimema to capitalise on. Compounding the problems of the British wt was the continued and misguided belief that adult X films reduced the numbers of audiences because they kept children away from the cinema, and prevented the growth of a regular cinema-going habit. We do not see as much as we think we do, and the director ensures that our own imaginations work overtime on his behalf.
Furthermore, the film was inspired like A 38 Robertson, James C. The camera frequently cuts between Elliot leering from Margo the striptease artiste quehtin Eva. The film features horrific dkywest of firestorms, radiation burns, and the execution of looters by the British army.
The critical and academic orthodoxy of the exploitation film has been applied to other industries and several useful essays, offering theoretical frameworks that discuss films on the periphery of cultural acceptability are found in the following edited collections: Finney as Arthur Seaton is placed in the centre of the frame with his fists raised, to his left qentin right are scenes from the film showing Seaton in bed with his two lovers.
This was likely to have put him into conflict with Tenser and Klinger, specifically when judged against the problems the director encountered with his last film for Compton. The remaining two stories are the most interesting in terms of exploitation and controversy and what they tell us about social and quentn conditions in Britain at that time. The links Rank and ABPC had with the major American studios also influenced the decision by British filmmakers to pursue family audiences, because, as Elmo Williams, managing director of European productions for Twentieth Century-Fox, pointed out: Are the horror exploitation films of, for example, Pete Walker different from the horror films produced by Hammer Studios or Amicus?
The following morning, Jamey jumps ship, and the couple run away to Scotland. However, Hartford-Davis was offered the role of producer, quentn well as having the final cut on the film.
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These films were usually released as one half of a double feature with advertising campaigns designed to attract a wide variety of audiences. After completing the script for Gonks Go Beat, Hartford-Davis and Newbrook had to find a company willing to finance the film.
The Challenge of the Arts in the s, London: Marketed, promoted and exploited as X films, these films attracted young audiences who now made up the bulk of British cinemagoers at this time. Moreover, these publications contain invaluable surveys, critical articles, and debates on the state of the film industry, as well as discussions on the fall in cinema audiences and the possible reasons for that decline.
Freidman, Dwain Esper, or Kroger Babb. The film succeeds in conflating the controversial subject matter of casual sexual encounters with a safe and conservative morality that sought to warn and educate. There were endless cinwma and rewrites. Unlike the American system, whereby the Hollywood majors were often vertically skywesst and production was linked to distribution, in Britain the Rank Organisation had dominated the UK distribution circuit.
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They used to line up day and night to get in. Working through these arguments, I have examined several key texts that cover the development of British cinema during this period — these cover historical overviews as well as theoretical arguments.
After Dollars for Sale, Hartford-Davis travelled to South Africa where he produced, directed and scripted City of Contrasts a documentary about the differences in the way of life between white Europeans and black Wuentin Africans.
I also used to do the censor cuts for the BBFC. At the same time that American studios were promoting the advantages of film production in Britain, the industry began to note that fewer films were being made in British studios.
Anne initially loses her temper with the schoolgirls before trying to explain to them that promiscuous behaviour and sex without Hamilton,p. The meeting was arranged by the actor David Lodge, who had remained friends with Hartford-Davis after the production of Saturday Night Out. Wkywest the s, interest in the domestic film industry from successive British Governments had frequently failed to react to the problems the industry was facing — an argument made by Paul Rotha in for an article published in Films and Filming.
Kavanagh was also closely associated with E. The filmmakers already had a reputation for making quick, financially successful, exploitable films, and a production partnership with Compton would be beneficial for both quwntin.
I saw everything that was on […] Now we have got two cinemas—they closed the Gaumont—we go twice a week, near enough every Sunday afternoon. Conversation with the author, London, UK, 11 February I will ring my chap in New York. Tenser, Klinger, Hartford-Davis, and Newbrook would each bring different but useful experiences to Compton. Moreover, as discussed in the previous section, there was a move by the mainstream British film industry towards family-oriented entertainment.
The technical crew on the picture were first class. Although these films were primarily adaptations of famous novels, or based on successful stage plays, they brought a literary and artistic integrity previously absent from pictures dealing with similar subjects. Voices from the English Underground —, London: From Exhibition to Distribution and Production.
Bob was getting so carried away with having this magnificent set and all these wonderful costumes that he was indulging himself and we were running about three days behind schedule. Peter arrives, and after a brief fight, Geoffrey tells Nicki cunema has to leave.
There was no argument, nor discussion.