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'From Carol White to Edith Evans, psychedelia to social grimness, fantasy to finance, this admirable collection captures the novelties and continuities of the 1960s. Contributors draw on archival sources to provide rewarding accounts which open up one of the most productive decades of British cinema to new and valuable scrutiny.'
Christine Geraghty, University of Glasgow
This collection of exciting new research on British cinema of the 1960s reconsiders and reframes the film culture that emerged from that tumultuous decade. Offering perspectives and insights from established scholars and new critical voices, Sixties British Cinema Reconsidered challenges assumptions about the decade's cinema and draws on under-explored archival resources.
Its chapters survey four key research areas: stars and stardom; creative collaborations in filmmaking, looking beyond the director; changes and developments in film style and genre; and how 1960s cinema both responded and contributed to the era's social and cultural transformations.
Duncan Petrie is Professor of Film and Television at the University of York. Melanie Williams is Reader in Film and Television Studies at the University of East Anglia. Laura Mayne is a Lecturer in Film and Media at the University of Hull.
Cover image: Oliver Reed in I'll Never Forget What's'isname, Michael Winner
1967 © Regional Film Distributors/Photofest
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edinburghuniversitypress.com
ISBN 978-1-4744-4388-3
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List of contents
Introduction, Duncan Petrie and Melanie Williams; PART ONE: STARS AND STARDOM: Male Stardom in 1960s British Cinema, Andrew Spicer; 'Rebel Rebel'?: Oliver Reed in the 1960s, Caroline Langhorst; Carol White: The Bardot of Battersea, Margherita Sprio; 'The Old Wave at Work': The Transatlantic Stardom of the British Character Actress in the 1960s, Claire Mortimer; PART TWO: CREATIVE COLLABORATION; Woodery-pokery: Charles Wood's Sixties Screenwriting, David Cairns; 'Beyond Naturalism': Jocelyn Herbert, If ....(1968) and design for performance in 1960s British cinema, Vicky Lowe; Kes: from page to screen, David Forrest and Sue Vice; 'I'd like to remember you as you are - as just a grumpy old man': Joseph Losey and Figures in a Landscape (1970), Llewella Chapman; PART THREE: STYLE AND GENRE; 'Wholesome rough stuff': Hammer Films and the 'A' and 'U' Certificate, 1959-65, Paul Frith; Widescreen Pyrotechnics: Shot Composition and Staging in the Cold War Films of Joseph Losey and Sidney J. Furie, Steven Roberts; The Rise and Fall of the Colourful Corporate Fantasy in 1960s British Cinema, Carolyn Rickards; Witchfinders and Sorcerers: Sorcery and counterculture in the work of Michael Reeves, Virginie Sélavy; PART FOUR: CULTURAL TRANSFORMATIONS; 'An Impulse of Anger, Instantly Regretted': Rebellion and Reaction in the early 1960s Naval Film, Mark Fryers; Narratives of Race and Identity in Sixties British Cinema, Phillip Drummond; Panic at the Disco: Brainwashing, Alienation, and the Discothèque in Swinging London films, Sophia Satchell-Baeza
About the author
Duncan Petrie is Professor of Film at the University of York. His publications include Creativity and Constraint in the British Film Industry (1991), The British Cinematographer (1996), Screening Scotland (2000), Contemporary Scottish Fictions (2004), Shot in New Zealand (2007) and Educating Film-Makers (2014).Melanie Williams is Reader in Film and Television Studies at the University of East Anglia. Her publications include the monographs David Lean (2014) and Female Stars of British Cinema (2017) and the co-edited collections British Women's Cinema (2009) and Ealing Revisited (2012).Laura Mayne is an Associate Lecturer at the University of York. Her research specialism is in post-war British cinema with an emphasis on industrial history, institutional practices and production cultures, and she has published widely on these subjects. She is currently working on her first monograph, titled Slumdogs and Millionaires: The Story of Film4.
Summary
Challenging assumptions around Sixties stardom, the book focuses on creative collaboration and the contribution of production personnel beyond the director, and discusses how cultural change is reflected in both film style and cinematic themes.
