Transformation and Tradition in Sixties British Cinema: Production Cultures, Cross Media Relations and National Branding

20世纪60年代被广泛认为是一个重要的社会和文化转型时期-对于历史学家亚瑟马威克，这十年构成了不亚于“文化革命”。20世纪60年代的英国电影似乎支持这一评估，首先是“新浪潮”的工人阶级现实主义，然后是詹姆斯邦德周期，披头士电影和其他“摇摆伦敦”的作品。独立制片也有增长，其中大部分得到好莱坞资金的支持，以及主要国际电影制片人在英国工作室的存在。此外，电影还受益于与其他动态媒体（包括电视、流行音乐、广告和时尚）进行的前所未有的文化交流。但最近这十年受到了不同的解释，多米尼克·桑德布鲁克认为，这十年的特点更多的是连续性和传统，而不是激进的变革。还有证据表明，英国电影继续受到既定结构、流程和风格的支配。该行业仍然由Rank和ABPC的双寡头垄断主导-这是一个自声音出现以来就牢固存在的系统。与此同时，除了托尼·理查森、约翰·施莱辛格和理查德·莱斯特等新秀外，安东尼·阿斯奎斯、大卫·莱恩、卡罗尔·里德和博尔廷兄弟等经验丰富的老将也继续工作。制作的协作性质意味着老牌和新手电影制片人有时会一起工作，而斯坦利·库布里克和约瑟夫·洛西，罗曼·波兰斯基和弗朗索瓦·特吕弗等国际名人与英国技术人员形成了重要的创造性联系。文化交流也因媒体之间的双向流动而变得复杂--当“年轻的土耳其人”从电视剧和时事进入电影院（肯·洛奇、肯·拉塞尔、杰克·戈尔德）时，老电影人在单镜头电视剧中找到了新的机会（查尔斯·克莱顿、罗伊·沃德·贝克、帕特·杰克逊）。该项目将批判性地审视20世纪60年代英国电影中新奇/创新和传统/连续性之间的紧张关系的影响，为这个看似熟悉但过于神话化的十年提供新的见解和理解。它将侧重于三个不同但相关的调查领域。第一，工业的组织和运作以及生产和销售的发展。独立生产的发展有多重要？好莱坞的融资有多有利，与独立制片人与老牌英国公司的关系相比如何？公众支持的来源有多重要？独立制片人在这十年里是否构成了英国电影业的一种新的企业文化？第二，国内电影的宣传和评论。这些电影如何被理解为创新和/或传统？他们的英国性重要吗？与“摇摆的60年代”的联系是如何与更传统的民族文化相结合的？第三，包括电视、广告、视觉艺术和时装在内的不同媒体之间新的交流形式的意义。这对生产工艺、技术和风格有何影响？创新是如何与老牌和更传统的电影制作人和方法共存的？电影制作的合作性质是如何使新旧关系复杂化的？创意人员在不同媒体之间流动的影响是什么？ 该项目将受益于与英国电影学院的合作，广泛利用BFI的主要研究收藏-包括新获得的和很少查阅的论文和其他档案资源-并通过通知出版物，放映，公开讲座和其他活动确保强大的公众参与，这些活动将形成BFI在2017年对20世纪60年代英国电影的重磅炸弹计划。

The 1960s is widely regarded as a period of significant social and cultural transformation - for historian Arthur Marwick, the decade constituted nothing less than a 'cultural revolution'. British cinema of the 1960s would appear to support this assessment, with first the working class realism of the 'new wave', then a more classless and cosmopolitan cinema epitomised by the James Bond cycle, the Beatles films, and other productions of 'swinging London'. There was also a growth in independent production, much of it backed by Hollywood finance, and the presence of major international film-makers in British studios. Moreover, cinema was benefitting from a process of unprecedented cultural exchange with other dynamic media including television, pop music, advertising and fashion. But recently the decade has been subject to different interpretations, Dominic Sandbrook arguing it was marked much more by continuity and tradition than by radical transformation. There is also evidence that British cinema continued to be dictated by established structures, processes and styles. The industry remained dominated by the duopoly of Rank and ABPC - a system firmly in place since the coming of sound. Meanwhile alongside new talent like Tony Richardson, John Schlesinger and Richard Lester, seasoned veterans such as Anthony Asquith, David Lean, Carol Reed and the Boulting brothers continued to work. The collaborative nature of production meant that established and neophyte filmmakers sometimes worked together, while international luminaries from Stanley Kubrick and Joseph Losey to Roman Polanski and Francois Truffaut formed significant creative associations with British technicians. Cultural exchange was also complicated by two-way movement between media - as 'young turks' from TV drama and current affairs moved into cinema (Ken Loach, Ken Russell, Jack Gold), so older film personnel found new opportunities in single camera TV drama (Charles Crichton, Roy Ward Baker, Pat Jackson). This project will critically examine the implications of this tension between novelty/innovation and tradition/continuity in 1960s British cinema, providing new insight and understandings of this apparently familiar but rather over-mythologised decade. It will focus on three distinct but related areas of inquiry. Firstly, the organisation and operation of the industry and the development of production and distribution. How significant was the development of independent production? How beneficial was Hollywood finance and how did this compare with the relationships independents had with the established UK companies? How important were sources of public support? Did independent producers constitute a new entrepreneurial culture with the British film industry during the decade? Secondly, the promotion and reviewing of films at home. How were these films understood as innovative and/or traditional? Was their Britisness significant? How did associations with the 'swinging sixties' sit alongside more traditional versions of the national culture? Thirdly, the significance of new forms of exchange between different media including television, advertising, the visual arts and fashion. How did this impact upon production processes, techniques and styles? How did innovation sit alongside the presence of established and more traditional film-makers and approaches? How did the collaborative nature of film-making complicate the relationship between old and new? What were the implications of creative personnel moving between different media? The project will benefit from collaboration with the British Film Institute, making extensive use of major BFI research collections - including newly acquired and rarely consulted papers and other archive resources - and ensuring strong public engagement by informing publications, screenings , public talks and other events which will form the BFI's blockbuster programme on 1960s British cinema in 2017.