Michael Klinger, the role of the producer and the British film industry in the 1960s and 1970s

该项目将存档，编目和解释迈克尔克林格文件，一个广泛的收集未知的材料，文件的职业生涯的一个独立的英国电影制片人捐赠给西英格兰大学（UWE）的制片人的儿子，托尼克林格。这些文件包含有关电影制作方面的信息，这些信息通常无法用于检查和分析，包括信件、法律的问题、制作成本、电影票房、发行权和公司损益账目。克林格是一个非常重要的人物在英国电影超过20年的时间（1960-1980），在此期间，他制作了32部电影。他跨越了这部国际主义动作冒险片通常独立的领域（特别是'黄金'，1974年），中等预算的犯罪惊悚片（例如，“卡特”，1970年），剥削电影（从1961年的《自然的裸体》到1974-76年的《忏悔》系列），以及艺术电影;克林格制作了波兰斯基的《排斥》（1965）和《死胡同》（1966），以及夏布洛尔的《血缘关系》（1975）。通过他的作品的多样性和范围，克林格成为20世纪70年代唯一持续盈利的英国独立制片人。然而，尽管他的重要性，克林格没有收到任何重要的关注，这个项目的目的是纠正这种忽视。该项目将由一位经验丰富的研究人员安德鲁斯派塞博士进行和管理，他是英国电影史方面的专家。他将与全职博士后研究助理谁将组织和目录克林格文件合作。该目录，以及从文件中选择的关键文件的数字化版本，将在网上提供，以及在项目期间与与克林格密切合作的电影人员进行的补充采访。英国电影学院特别收藏部前负责人珍妮特·莫特（Janet Moat）将确保这项工作按照公认的档案标准完成。论文和采访，以及从其他档案馆，贸易新闻，回忆录和其他相关来源获得的背景材料，将使斯派塞博士和研究助理共同撰写一份关于克林格职业生涯的权威研究，并将在着名的英国电影制片人系列中发表。关于他职业生涯的一个具体方面的另一篇文章将发表在相关期刊上。在该项目的第一年结束时将举行一次研讨会，以讨论克林格的工作，在更广泛的背景下，邀请研究人员撰写论文，探讨战后其他英国电影制片人的工作。研讨会将是UWE和朴茨茅斯大学创意艺术、电影和媒体学院正在进行的合作的一部分，朴茨茅斯大学也在探索20世纪70年代的英国电影。该项目将通过建立一个永久性档案库，其中包括目录、关键文件和在线访问访谈，为学者提供一个宝贵的、迄今未知的资源。克林格的专著将恢复他作为战后英国电影重要人物的应有地位。它将深入了解电影制片人的各种功能，其作用在电影研究中被误解和忽视。对克林格的研究也将为20世纪70年代英国电影和文化的复兴做出重要贡献，这一时期刚刚开始被认为是一个丰富多样的时期，但缺乏系统和严谨的研究。克林格的案例研究提供的细节将阐明英国电影制片人在一个不确定和深刻变化的时期所面临的许多关键问题和问题。该项目的具体重点还将与当前对创意和商业之间关系的更广泛关注以及创意产业的性质相联系，从而将其研究结果传播给更广泛的社区。

This project will archive, catalogue and interpret the Michael Klinger Papers, an extensive collection of unknown material that documents the career of an independent British film producer donated to the University of the West of England (UWE) by the producer's son, Tony Klinger. The Papers contain information about aspects of film production that is not normally available for inspection and analysis, including letters, legal issues, production costs, film grosses, distribution rights, and company profit and loss accounts. Klinger was a highly significant figure in British cinema over a twenty-year period (1960-1980) during which he made 32 films. He straddled the normally separate spheres of the internationalist action-adventure film (notably 'Gold', 1974), the medium-budget crime thriller (e.g. 'Get Carter', 1970), exploitation cinema (from 'Naked as Nature Intended', 1961 through to the 'Confessions Of' series, 1974-76), and the art-house film; Klinger produced Polanski's 'Repulsion' (1965) and 'Cul-de-sac' (1966), and Chabrol's 'Les liens de sang' ('Blood Relatives', 1975). Through the variety and range of his productions, Klinger became the only consistently profitable independent British producer during the 1970s. However, despite his importance, Klinger has not received any critical attention and the aim of this project is to remedy that neglect. The project will be conducted and managed by an experienced researcher, Dr. Andrew Spicer, an expert in British film history. He will collaborate with a full-time postdoctoral Research Assistant who will organise and catalogue the Klinger Papers. This catalogue, together with digitised versions of selected key documents from the Papers, will be made accessible online, as will the supplementary interviews conducted during the project with film personnel who worked closely with Klinger. Janet Moat, ex-Head of Special Collections at the British Film Institute, will ensure that the work is completed to recognised archival standards. The Papers and interviews, together with contextual material drawn from other archives, the trade press, memoirs and other relevant sources, will enable Dr Spicer and the Research Assistant to co-author a definitive study of Klinger's career to be published in the prestigious British Film Makers series. An additional article on a specific aspect of his career will be published in a relevant journal. A symposium will be held at the end of the project's first year in order to discuss Klinger's work in the wider context of invited papers from researchers that will explore the work of other British film producers in the post-war period. The symposium will be part of the ongoing collaboration between UWE and the School of Creative Arts, Film and Media at Portsmouth University which is also engaged in exploring 1970s British cinema. This project will make a valuable and as yet unknown resource available to scholars through establishing a permanent archive with a catalogue, key documents and interviews accessible online. The monograph on Klinger will restore him to his rightful place as an important figure in post-war British cinema. It will provide an in-depth understanding of the varied functions of the film producer whose role has been misunderstood and neglected within Film Studies. The study of Klinger will also make an important contribution to the resurgent interest in British cinema and culture in the 1970s, just beginning to be recognised as a rich and diverse period but one that lacks systematic and rigorous studies. The detail provided by the case study of Klinger will illuminate many of the key issues and problems faced by British film-makers during a period of uncertainty and profound change. The specific focus of the project will also connect with wider current concerns about the realtionship between creativity and commerce andthe nature of the Creative Industries thus disseminating its findings to a wider community.