British cinema workbook Defining the British Film A system of quotas or support for films requires some kind of definition of what is British. This has become increasingly difficult to define in a world where capital moves much more freely, where a number of major companies are genuinely multi-nationals and where people, and in particularly the wealthy and the talented are likely to move from country to country. Nevertheless the UK Film Council have attempted to define the British Film. There are a variety of definitions for different purposes including tax concessions and access to Film Council funding. These include • The nationality of the major film-makers (Director, Writer, Major Performers) • The other labour costs (crew, extras etc) going to British people • Use of British facilities; locations and post production facilities • Home base of production company • Source of finance for film • Subject matter of film • Intended primary audience In each case it is possible that the film will be partly British (e.g. mixture of crews, joint finance). For some purposes all members of the European Union are regarded as "British" The definition of a British film was set out in Schedule 1 to the Films Act 1985. The requirements for a British film relate to three aspects of the film:
•
The nationality of the maker. The maker of the film must be UK or EU.
•
The percentage of the production cost spent in the UK. 70% of the production cost of the film must be spent on film production activity in the UK.
The percentage of labour costs representing payment to citizens of or persons ordinarily resident in the Commonwealth or the European Economic Area.
British cinema workbook
The British Film Council It has not been free from criticism, after all it is spending lottery money. It suffers from the potentially contradictory nature of its aims. If its role is merely to encourage a profitable film industry then it perhaps should not be subsidising films at all, but encouraging film makers to look at what the market wants, which may well be what they already get (from Hollywood) . However if it is to help develop a "distinctive cinema, it may well need initially at any rate to encourage more risky products which may well have to work hard to find an audience or develop one for the future.
Filin".cQi!ncil
fingers路路flop~makers
_
,.'.'_
..
-
;.
,'-
_.-,
-,,~.,.-
British cinema workbook Below are a list of films financed by the Film Council over the past eight years.For those you know - which do you consider to be distinctive and which do you think are likely to be profitable. Are there films that are both?
t
Beautiful Creatures (2000)
Tango Lesson. The (997)
Beautiful People (1999)
There's Only One Jimmy Grimble (2000)
,
Billy Elliot (2000) 28 Weeks Later (2007) Bullet Boy (2004) Hideous Kinky (1998) 24 Hour Party People (2002) Hilary and Jackie (1998) 51 st State, The (2001) Ideal Husband, An (1999) Janice Beard: 45 Words Per Minute (1999)
Bend It Like Beckham (2002)
Keep the Aspidistra Flying (1997)
Gosford Park (2001) Hole, The (2001)
Love's Labour's Lost (2000)
In This World (2002))
Mansfield Park (1999)
Magdalene Sisters, The (2002)
Miss Potter (2006)
Mike Bassett: England Manager (2001)
My Son the Fanatic (1997) My Summer of Love (2004)
Once Upon a Time in the Midlands (2002)
Notes on a Scandal (2006)
Parole Officer, The (2001)
Photographing Fairies (1997)
Sunshine (2007)
Plunkett & Macleane (999) "-'
This Is Not a Love Song (2002) Touching the Void (2004)
Ratcatcher (1999) Vera Drake (2004) Revengers' Comedies, The (1998) Room for Romeo Brass, A (1999)
The Wind that shakes the Barley (2006)
Shooting Fish (1997)
This is England (2006) Younl! Adam (2003)
路 .._';r
...
_ :"",- ...:1:., -"
,.)~..\
楼
-
Britain in the sixties Britain is perceived to have undergone significant social changes in the 1960s. These changes have perhaps been over-estimated and in some ways there were forces at work which strongly resisted the changes and much of Britain was still deeply conservative. Nevertheless in comparison with the 1950s there were significant changes of attitude' particularly among the young.
Consider the films you have seen Take the leading character in each How young are they? In what sense could they be perceived as having IInon traditional attitudes"
In both Britain and America there were elections of relatively young political leaders, Wilson and Kennedy, although their respective parties programme of political reform were not regarded as fast enough by those of the emerging left. The decade ended with significant political movements against (the Vietnam) war and for civil rights (for Blacks in the US and for Catholics in the North of Ireland). Western Societies were described for the first time as "Affluent Societies", ones in which there was an expectation that the majority of the population could be expected to enjoy a standard of living well beyond subsistence, This was reflected in the increasing availability of consumer goods. Wages were generally on the increase, as there was relatively full employment throughout the decade. Electrical goods were being developed and produced relatively cheaply, and systems of purchasing goods through hire purchase -"the never never" became accessible to wider sections of society. Consumer goods became ways of defining position in society - "the status symbol". Television ownership had become more or less universal, with additional electronic media, record players, tape recorders and trans.istor radios. Homes increasingly had a number of home entertainment forms located in different rooms. There was an extension of "labour saving" devices such as washing machines and vacuum cleaners, which were seen as enabling "housewives" to spend less time on domestic chores and increasingly to re-enter into paid employment. Car ownership and telephone rental spread in the decade to wider social groups, Foreign (Package) holidays emerge as. a family activity for working class households and the young become increasingly involved in more exotic travel though hitch-hiking I back:'. ... r-, . . packl'ng. ~
~
What would you identify as they key consumer goods of the leading character in each of the films? .
..)
.
British Films of the swinging sixties
MINISKIRT
...
,"
In 1965, Briti::h model Jean Shrimpton shocked racegoers at Melbourne race course - which was considered the high 1ashion spot in Australia - by turning up hatless, gloveless. without stockings and (worst of aIL. according to fashion critics). in Cl mini l,{HopFoto.co.uk Th: arguments are much the same as the debate surrounding the more contemporary Wonderbra: as a woman you deserve to have control over your own body, to celebrate your sexuality, but by using this freedom are you simply milking yourself the ol~iect ofmale fantasy? MiniskiJ1S, like Wonderbras, give more excuses for exploitative pi..,tllres to appear across the Media, promoted as being about "girlpower" while actually just objectit):ing women even further. The battle ofthe miniskirt is about a woman's control over her body image and therefore it's also about (you've guessed ill. sex.
The upside
"Looking Good, Feeling Free!" Tom Robbins, Miniskirt Feminism, article ill TIle New York Times l1995) The tirst time that hemlines rose significantly was in the 1920s when the so-called "flapper"' girls scandalised first America and then Europe with their energetic dances, androgynous loolc and skirts raised to almost the kn~e, Flapper fashion rode on the hack of the first wave offemini~m: the suffragette movement Due 10 their continued agitation from the turn of the ctlntury and the prominence of women in the working arena which occurred during the first world war, in 1918 women over 30 got the vote and the voting age was finally brought in line with men in 1928. The suffragettes were also actively working to improve women's lot in other areas such as marriage, child birth and economic status. Is it a coincidence that the second major rise in hemlines occurs with the rise of second wave teminism? In 1949 Simone de Beauvoir published ber enormously influential book The Second Sex. She argued that women's submissive role was a social construct and not a result of natural law. Although it took a decade for the significance ofher idea to ,become clear. this book provided the cornerstone for second wave feminist thinking. In 1963, American Beny Friedan publi~hed The Feminilw ,l,.fysTlqUe which exploded the myth of the happy housewife and articulated the desire of so many women to explore other roles. We were on the way The 1960s was the first decade in which all young women receiv~ full time secondary education up to age 15 and this produced a huge boost to the numbers of women attending the now rapidly expanding universities. Women were enteting the work place as teachers, nurses and secretaries. TIle introduction of the "'temp agency- meant women could get work wherever and whenewr they wanted it, facilitating travel and wider opportunities.
British Films of the swinging sixties
In 1964 Dorothy Hodgkin won the Nobel Prize for Chemistry and Gwen Moffal became Ihe first female mountain guide, 1965 saw the fin.1 lemale High Court judge appointed. From 1957 Mal} Stott was the editor of theGlIardian 's women's page, a campaigning platfolm tor women's issues.
There were legal changes afoOl too. In 1964 married women were allowed 10 keep half of any money saved out of housekeeping aJlowan~s> in 1967 they were granred similar rights to their husband ill the marital home. The 1967 Abortion Act legalised abortion and in 1969 the divorce law was refurmed so that either party could sue for divorce, innocent or otherwise. TIlese legal changes are the manifestation of a social revolution that was taking. place in Britain and across the world throughout this time. The predominant image of women shifted from being R wife and mother to the young. free, single girl. And the miniskirt seemed to express it all. As women took a mtll'e assenive role in society, they also wanted to regain control over their own bodies. This is onC'路 of the most urgeut concerns of secol)d wave feminism. In 1974. Angela Carter wrote about her anorexia and how the ideas of the Women's Liberation Movement had helped hC'.r to tight it. Anorexia is hOlmd up with dissatistaction with your physical being. Md th~ Women's Liberation MtlVement was about releasing women from these kinds of bonds. The miniskirt can be SC'en as a celehration uflhe female form. !lSSC'rting your righl to be proud of your figurC' !lnJ yOllr righl to display il. The famous Lewis Morle)' photograph of Christine Keeler (1963) silling, nude, stc1ring directly over her scat back into the camera lens is a striking image of a woman at the height of her celebrity (she is famous for being the downfall or politician Jolm Profumo in a sex scandal that rocked Westminster), proud of her sexuality, confident thal tltis is where her power lies. Women were no longer submitting to the WhinlS of (mostly male) designers. Long trousers canle in for women at about this time and there was a move away from haute couture. Mary Quant had her finger on the pulse. She was a self-made businesswoman who provided ready-to-wear, affordable clothes that expressed this newly adventurous spirit in women. Interestingly, her famous "Chelsea Look" owes a great deal to those Mdrogynous ]920s flappers, except now their bobs were by V idal Sassoon, they applied thick kohl eyeliner and their skilts were above the knee - well above. And this leads us on to the controversial issue ofsexualliberatiotl- The rise of the miniskirt coincided with the \Vider availability of the contraceptive pill (1961), a far more reliable method of family planning than tbose previously available Md, crucially, one which was in the control oftbe woman. This allowed women to be more relaxed about sex and pawd the way for women's sexual liberation. Well that was the theory, anyway. [n practice only llne in ten doctors would prescribe it for a single woman and it was "more talked about than taken" (OUl Of TIle Doll's House by Angela Holdswortb). The impact of the PiJI OD women's sexual.choices was not really felt until the 1970s, whatever Ihe skirt length may have had you believe abollt women's attitude 10 sex, Undoubtedly, the miniskirt came to prominence at a time when women's rights were a hot topic. The miniskirt was both a symbol of women's liberation and a tool of it.
The downside
KJngs Road, Cbelsea, in 1967 '!;ITopForo.co.uk ''Take note, girls Our Loodoll men report that you haven't really been given top-of-the-pops praise by your boyfriend unless he has calIed you a DolIy bird." Brisbane Telegraph, April 6, 1964
British Films of the swinging sixties
A "Dolly bird" is an attractive, fashionable young girl, the tenn originating with the idt:a of a woman as a prt:tly ornament. Miniskirts celebrate women's femininity, playing with ideas of sexual possibility, but who are they doing it for? "The freedom women were supposed to have in the Sixties largely boiled down to easy contraception and abortion: things to make lite easier for mt:n, in fact" (Julie Burchil~ quoted in The If'omen's Century': A CelebroliOIl a/Challging Roles). Feminists quickly realised that the freedom ofthe miniskirt c-ame at a price, that it had greater potential to be exploiuuivc than liberating. When a person is wearing a miniskirt you see the路 legs, not the pt:rson. A woman in a miniskirt is delllrnlanised in some ways. Increased visibility for the idea of the sexually empowered woman, striding around Swinging London in her miniskirt resulted ill the media sinlplification of these sexy, sassy women into simpering sex objt:cts, toys t()r men, Mrs Peel from The Avengers, Pussy Galore in Goldfinger. both tread the difficu.1t line of kick-asslnice-ass portrayal. When Talbot Rothwell took over scripting the popular Carry On mm series in 1963 an increase in female leading roles went hand in hand with an increase in sexually explicit situations, illllUt:ndo and curvaceous clothing. The huge popularity of the Bellfl,Y Hill Show on the BBC throughoulthe 1960$ als~) propagated the idea ofwomeu's only possihle role heing a sexualised one. Miniskirt~ are'undoubtedly regarded as "sexy" items of clothing, But why? And whose point of view aro we talking about ht:re" The fashion gives the impression that the wearers are sexually available - "up for if", in other word=', or "asking for iC. in more sinister ones. Prostitutes often weal' miniskirts as lUl enticement for trade and a symbt)I oftheir willingne~s. What effect do the~ associations have on the way we view a girl who chooses to wear a m\niskirt for a fun night out? Is she being oppressed by a male view of her fashion choice?
The current rise of"raunch culture" promotes a woman's right to express her sexuality overtly, publicly and, some would say. by reclaiming images and behaviour associated with pornography. Has third wave fuminism givt:n us the right to choose to behave like a sex object if we wish? Looking at it in the opposite way. you could say that miniskirts are enticing because they are dist:mpowering, They give men the idea of superiority or control over women. A woman in a rninisl..irt is vulnerable and exposed, and.., in her disempowered staLC, more attractive. The miniskirt, ratht:r than being a complete revelation. is trying to cover a woman's body, but failing. This partial revelation is much more alluring than straight down the line nudity would bt:. The onlooker is tantalised - what might you catch a glimpse of? Thus, a miniskirt is the opposite of women's liberation. a blatant symbol of our self-imposed oppression and subscription to the male sex game. Maybe we should have been burning miniskirts instead of bras in tht: laLC 19605... So, as you can see, the miniskirt is controversial in more ways than one wht:n it comes to women's liberation. It is impCll1ant realise that these arguments are not just those of the 19605, when the miniskirt was born, US TV series Ally MeRe,,1 kicked off the debate once again in the late 19905. Starring a high-flying female lawyer who dressed in power suits, the programme shows Ally and her co-workers taking on and feminising the traditionally male world ofthi.': law, Her miniskirt was her tradt:mark.. But how could she expect to hi.': taken seriously and wear a skirt that short'? Distracting the jury, using her physicaJ allure instead of her mind. she. was ditsy, an emotional wreck who needed a man and a baby - what kind ofrol~ model for modern women was she projecting? 10
Ally's miniskirts encapsulate the contradictions: powerful yet vulnerable, sexy but wanting to please, playful bUl professional- all this in a fuw iconic inches of cloth.
,.
VERTIGO --- SUPPLEMENTAL ENDING
A supplemental ending to the original film (dubbed the "foreign censorship ending") provided just punishment for the guilty Elster. Hitchcock was required to shoot an extended ending to satisfy the needs of the foreign censorship committee. After the conclusion of the film above, Midge is positioned by the side of her radio intently listening to a report of the search for Elster in Europe: Elster was last heard of living in Switzerland but is now thought to be residing somewhere in the South of France. Captain Hansen states that he anticipates no trouble in having Elster extradited once he is found. Another news flash reports locally that in Berkeley, three University of California sophomores were caught "in an embarrassing position" when discovered by police as they led a cow up the steps of a campus building. She abruptly turns off the radio and turns as Scottie enters her apartment and blankly looks at her with his hands in his pockets. He strides over to the window路 darkened by nightfall - as she pours drinks for both of them. She wordlessly gives one of the glasses to Scottie and then sits down, while he gazes mindlessly out the window. The scene fades to black.
Last Laugh Was Hitchcock's Masterpiece Q Private Joke" ....................In the following scene, Scottie discusses his recuperation with Midge, an old friend, but his escape from the dangerous predicament of the prologue is never explained. Scottie's cane and references to his corset are evidence of unspecified physical injuries, but it's his .psychological injury, his vertigo, that entices our curiosity, strongly enough to allow incidental acknowledgment of his physical injuries to satisfy us, if indeed we question them at all. But on analysis Scottie's physical. injuries seem disproportionate to the danger; his escape by no means a certainty. It appears unlikely he could have pulled himself up alone without the gutter tearing away from the building; and there was no one else on the roof to provide timely assistance. Ifhe had dropped the six stories to the pavement - the same fall that killed the policeman - he would at least have broken bones .
CHRISTIAN SPOTLIGHT ON THE MOVIES REVIEW' . Content: There's no profanity. There are some vague sexual references; and although it's not implied that Scottie and Mrs. Elster actually have sex. they are "in love" with each other and are repeatedly shown hugging and kissing. There are a number ofon-screen deaths related to falling from heights. Sorry to reveal a 路major plot point, but we eventually learn that the possession theory is incorrect and the film actually has no supernatural content There's no redeeming morai quality here; every major character has flaws. The casting of"everyman" Jimmy Stewart in this role implies to the audience that they might have done the same thing. What's interesting-not just for Hitchcock fans but for any movie viewer-is the way the film's technique sucks
Budget
$2A79,OOO (estimated) Opening Weekend
$10,783 (USA) (30 October 1983) (2 Screens) $5,502 (France) (24 December 2002) (1 Screen) Gross
$1,718,928 (USA) (22 December 1996) (re-issue) (sub-total) $10,783 (USA) (30 October 1983) (sub-total) $15,000,000 (USA) ( January 1998) (sub-total) $25,000,000 (Worldwide) ( January 1998) (sub-total) $5,502 (France) (24 December 2002) (sub-total) Rentals
$5,306,000 (USA)
•
star/performer
James Stewart as star, Contrasting representation with other roles e.g. It's a Wonderful Life •
genre
Place within the Thriller Genre / detective Thriller / Narrative surprise - twist •
auteur (in its broadest sense)
Hitchcock Valuation of Vertigo as part of his work • social, political and cultural studies Themes ofVertigo Guilt 50s Morality Link with melodrama Sirk • Male Gaze Crisis of masculinity •
gender issues
ethunicity
Spanish Latino • institution Hitchcock as Producer Director within declining Studio system •
technology
The Vertigo shot Concepts of realism