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大的社会和文化变革时期--对历史学家阿瑟·马维克来说，这十年简直就是一场“文化大革命”。20世纪60年代的英国电影似乎支持这种评估，首先是工人阶级现实主义的新浪潮，然后是以詹姆斯·邦德系列电影、披头士电影和其他《摇摆的伦敦》为代表的更无阶级、更国际化的电影。独立制作的增长，其中很大一部分是由好莱坞资金支持的，以及主要的国际电影制片人在英国电影公司的存在。此外，电影还受益于与电视、流行音乐、广告和时尚等其他充满活力的媒体进行了前所未有的文化交流。但最近，人们对这十年有了不同的解读，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，而不是激进的转变。也有证据表明，英国电影继续受到既定结构、流程和风格的支配。这个行业仍然被Rank和ABPC的双头垄断所主导-这是一个自Sound出现以来牢牢存在的制度。与此同时，除了托尼·理查森、约翰·施莱辛格和理查德·莱斯特等新秀之外，安东尼·阿斯奎斯、大卫·利恩、卡罗尔·里德和博廷兄弟等经验丰富的老将仍在继续工作。制作的协作性意味着老牌和新手电影制作人有时会合作，而从斯坦利·库布里克和约瑟夫·洛西到罗曼·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意联系。媒体之间的双向流动也使文化交流变得复杂--随着电视剧和时事节目中的年轻土耳其人进入电影(肯·罗奇、肯·拉塞尔、杰克·戈尔德)，因此年长的电影人员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)。这个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/延续之间的紧张关系，为这个显然熟悉但过于神话的十年提供新的洞察力和理解。它将专注于三个不同但相关的调查领域。第一，行业的组织和运作以及生产和分销的发展。独立生产的发展有多重要？好莱坞的金融有多大好处？与独立公司与英国老牌公司的关系相比，这有什么不同？公众支持的来源有多重要？在这十年中，独立制片人是否与英国电影业构成了一种新的创业文化？其次，电影在国内的推广和评论。这些电影是如何被理解为创新和/或传统的？他们的英国性重要吗？与“摇摆不定的60年代”的联想如何与更传统的民族文化版本并驾齐驱？第三，不同媒体之间新的交流形式的重要性，包括电视、广告、视觉艺术和时尚。这对生产流程、技术和风格有何影响？创新如何与老牌和更传统的电影制作人和方法并驾齐驱？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、很少查阅的论文和其他档案资源--并通过为出版物、放映、公开演讲和其他活动提供信息，确保公众的强烈参与，这些活动将构成BFI关于20世纪60年代英国电影的大片项目。

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.