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October 19, 2007
Chronology of Important European Films
A Chronology of Important European Films 1918 - 2003
Introduction
This page is work in progress. Many links have been made to in site or external reviews or places where the film can be purchased; films post 2003 are now being added. Gradually in site 'hubs' are being developed for specific national directors so that clicking on an entry will allow the visitor to access the hub where links to more specialist information on the directors will become available. This is currently a long process and will take many months. The development plan for this aspect of the site work is to open up director based pages which will provide links to the currently best available relevant web sites based upon a Google search of normally up to page 20.
Objective
The primary purpose of this entry is to allow visitors to start to make comparisons across national boundaries by gaining a more synoptic view of cinematic developments in parallel countries. This accords with the main cinematic purpose of the blog which is to contribute towards an understanding of European film history in the five major industrial countries of Europe since the end of the First World War.
Many directors worked in a number of countries and, as in any other cultural industry, there are plenty of crossovers becuase cultural workers such as directors and cinematographers are often chosen for specific skills or want to work in a different country to gain a more cosmopolitan experience. Visconti, for example started working with Renoir in France before the Second World War, Emeric Pressburger worked in Berlin before choosing to escape Nazism and coming to Britain. Cavalcanti worked in France and then Britain was brought up in Switzerland and was of Brazilian origin. Truffaut worked with Rossellini briefly. This is of course the tip of the iceberg and signifies the importance of cross-cultural influences within the growth of European cinema. A tradition that carries on to this day.
Uses For This Page
This page should help a wide range of people who have an individual, academic or film programming interest in European cinema. First of all, my apologies to visitors who are disappointed because their country is not included in the list. I have chosen to focus on the five major industrial countries of Europe as my main area of research and development. All five are currently members of G8 the World's largest GDPs. Compared to the United States all these countries struggle to get a thriving independent film which has a large audience in its own country. This basic fact about issues of the cultural representation of a range of cultures is an important aspect of what can be termed cultural citizenship.
The definition of cultural citizenship is one which argues that people from different places are able to represent themselves to the rest of world. Out of the Western European countries studied here only France has managed to maintain a very powerful indigenous film culture largely because of its film policies which necessarily extend into the sphere of exhibition and distribution.
To develop more work on more European countries is beyond the scope of an individual blogger. This huge absence points the way to thinking about how to develop a much more powerful pan-European film culture which takes on board the need to develop audiences as well as exhibition, distribution and production systems. For those interested in current institutional initiatives please link here to the European Film Institutions page
Hopefully this blog and page will contribute to this greater idea. For any interested visitors the page should contribute to gaining an overview of European cinema as it has developed since World War I. This date has been chosen as it was a turning point in World history marking the transition of global power from European Empires to the United States although of course it took many decades to complete the transfer.
The page should help those running film clubs and societies who are trying to work out their programming, it should also help students and those independently interested in European cinema to quickly develop ideas and themes which can then be followed up.
Underwritten Films and Directors
One reason for doing this undertaking was to discover which films / directors were underwritten on the web. Whilst most searches will turn up highly specialist articles in small academic journals which require users to be members of a subscribing university there are sometimes very few well informed and well written in depth articles about certain films and / or directors. As I gradually make my trawl I will note here where there seem to be weak spots in web coverage. This might stimulate interest in the films and ensure that they still remain available.
Taviani Brothers: For most of the films I have been searching so far there is relatively little quality in depth material to recommend. They have made a lot of powerful films in Italy and deserve more serious web recognition.
Francesco Rosi: This is another director who remains underwritten on the web. Again he has made a lot of important films about Italy frequently with a strong humanitarian / political edge.
Luchino Visconti: Regarding his 1976 film L'Innocente there is little of any use on a Google search at present. The link I have goes to a Google sample of Henry Bacon's book - this is highly recommnded by the way. The English entries via Google on Senso are generally weak despite the importance of the film as recognised by Nowell-Smith and Dyer.
Rene Clair: Le Silence est d’or there is very little available in English on a Google search.
Guiseppe de Santis: One important point to note is the fact that Bitter Rice has not been available in the UK for a considerable period of time. This is surprising to say the least because not only is it seen as an important film in the canon of Italian neorealism but it was also one of the most commercially successful of the neorealist canon.
The Chronology
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Year |
France |
Germany |
Italy |
Soviet Union / Russia |
United Kigndom |
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1918 |
Gance: Ecce homo Gance: J’accuse L’Herbier: Phantasmes |
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1919 |
Dulac: La Cigarette |
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1920 |
Dulac: La Belle dame sans merci Dulac: Malencontre Gance (-1922) La Roue |
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1921 |
Dulac: La Morte du soleil |
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1922 |
Dulac: Werther (Unfinished) L’Herbier; Don Juan et Faust |
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1923 |
Clair: Paris qui dort Dulac: Gossette Dulac: La Souriante Mme Beudet Gance: Au secours |
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1924 |
Dulac: La Diable dans la ville Renoir: La fille de l’eau |
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Protazanov: Aelita |
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1925 |
Clair: Le Fantome de Moulin Rouge Dulac: Ame d’artiste Dulac: La Folie des vaillants Gance (-1927): Napoleon vu par Abel Gance Gance(-1927) Autor de Napoleon Gance (-1928) Marine |
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1926 |
Clair: Le Voyage imaginaire Dulac: Antoinette Sabrier Gance (-1928) Danses |
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1927 Arrival of sound In USA |
Dulac: Le Cinema au service de l’histoire (Compilation)
(Online screening available) Renoir: Charleston |
Ruttman: Berlin Symphony of a City |
Pudovkin: The end of St. Petersburg |
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1928 |
Dulac: Germination d’un haricot Dulac: Le Coquille et le Clergyman (See under Invitation etc for online screening) Dulac: La Princesses Mandane Gance: Cristallisation L’Herbier: Un Chapeau de paille d’Italie Renpoir: Marquetta Renoir: La petite marchande d’allumettes |
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1929 |
Bunuel: Un Chien d'Andalou & L'Age d'or Dulac: Etude cinegraphique sur une Aaabesgue Dulac: Disque 927 Dulac: Themes et variations Renoir: Tire-au-flanc Renoir: Le bled |
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Eisenstein: Old and New or The General Line Kovinstev and Trauberg: The New Babylon Protazanov: Ranks and People Turin: Turksib |
Asquith: A Cottage on Dartmoor Hitchcock: The Manxman (His last silent film) |
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1930 |
Cocteau: Le sang d’unpoete Gance: La Fin du Monde Gance: Autour de La Fin du Monde |
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1931 |
Clair: Sous les toits de Paris Clair: Le Million L’Herbier: Le Parfum de la dame en noir Pagnol: Marius (Technically directed by Korda) Renoir : On purge bebe Renoir: La chienne Vigo: Taris |
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1932 |
Clair: Le Quatorze juillet Gance: Mater dolorosa Pagnol: Fanny (Technically directed by Allegret) Renoir : La nuit du carrefour |
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1933 |
Pagnol: Le Gendre de Monsieur Poirier Pagnol: Jofroi Renoir: Chotard et cie |
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1934 |
Gance: Poliche Gance (-1935) Napoleon Bonaparte L’Herbier : Le Scandale Pagnol: L’Article 330 Pagnol: Angele Vigo: L'Atalante |
Trencker: The Prodigal Son (1933-34)
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1935 |
Gance: Le Roman d’un jeune homme pauvre Gance: Jerome Perreaux, heroes de barricades Gance: Lucrece Borgia Pagnol: Merlusse Pagnol: Cigalon |
Blasetti: Old Guard |
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1936 |
Carne: Jenny Gance: Un Grand amour de Beethoven Renoir: Partie de Campagne |
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Dzigan: We From Kronstadt |
Hitchcock: Sabotage |
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1937 |
Carne: Drole de drames Gance: Le Voleur de femme Pagnol: Regain |
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Gallone: Scipio the African |
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1938 |
Gance: Louise Pagnol: La Femme du boulanger Renoir: La Marseillaise. |
Alessandrini: Luciano Serra Pilota |
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Saville: South Riding |
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1939 |
Carne: Le Jour se leve Gance: Le Paradis perdu L’Herbier: La Brigade sauvage L’Herbier: Entente cordiale |
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For contextual links and more films see: British Cinema and Society: Chronology 1939–1951
British Cinema of the Second World War
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1940 |
(French Cinema in the Second World War) Gance (-41): La Venus aveugle Pagnol: La Fille du puisatier |
Harlan: Jew Suss Hippler: The Wandering Jew
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1941 |
L’Herbier: Histoire de rire |
Liebeneiner: I Accuse Ruhman: Quax the Crash Pilot |
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1942 |
Carne: Les visiteurs du soir Becker: Dernier atout Gance (-1943): Le Capitaine Fracasse L’Herbier: La Comedie du bonheur L’Herbier: La Nuits fantastique |
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De Sica: The Children are Watching Us Rossellini: L’uomo dalla Croce |
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1943 |
Becker: Goupi main-rouges Bresson: Les anges du peche |
Rossellini (43-44) : Desiderio |
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Powell and Pressburger: The Life & Death of Colonel Blimp
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1944 |
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Eisenstein: Ivan the Terrible Part 1 |
Batty: The Battle for Warsaw (UK / Poland) Clayton: Naples is a Battlefield (Documentary) Powell and Pressburger ; A Canterbury Tale Gilliat: Waterloo Road (Spiv) |
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1945 |
(French Cultural Policy After WWII) Becker: Falbalas |
Harlan: Kolberg (1943-45) |
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1946 |
Carne: Les Portes de la nuit L’Herbier: Au petit bonhuer |
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Crichton: Hue and Cry (Ealing Comedy) |
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1947 |
Boulting Bros: Brighton Rock (Spiv) Cavalcanti: They Made Me a Fugitive (Spiv) Hamer: It always Rains on a Sunday (Melodrama / Social Real) |
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1948 |
Cocteau: L’Aigle a deux tetes Cocteau: Les Parentes terribles Renais: Van Gogh (Short) |
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1949 |
Becker: Rendez-vous de juillet |
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Cornelius: Passport to Pimlico Hamer: Kind Hearts and Coronets
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1950 |
Carne: La Marie du port Clair: La Beute du diable Cocteau: Corolian (Short) Resnais: Gaugin (Short) Resnais: Guernica (Short)
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Lee: The Wooden Horse Deardon: The Blue Lamp (Social Problem Films) Odette (Biopic / War) |
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1951 |
Bresson: Le Journal d’un cure de campagne Cocteau: La Villa Santo-sospir |
Staudte: The Subject (GDR banned FDR) |
Fellini: The White Sheik |
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For contextual links and more films see: British Cinema and Society: Chronology 1951–1964
Boulting: High Treason (Anti-Communist) |
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1952 |
Becker: Casque d’or Pagnol: Manon des sources |
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Rosi:Camicie rosse (Red Shirts)
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Asquith: The Importance of Being Earnest Frend: The Cruel Sea (War) |
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1953 |
Carne: Therese Raquin Gance: La 14 juillet 1953 L’Herbier: Le Pere de madamoiselle |
L. Anderson: O Dreamland (Social Real) Crichton: The Titfield Thunderbolt (Comedy) Gilbert: The Cosh Boy (first Brit X Rated Film)
Reed: The Man Between (Anti-Communist) |
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1954 |
Becker: Touchez pas au grisbi Carne: L’Air de Paris Gance: La Tour du Nesle |
Kautner: Ludwig II Kautner: The Last Bridge |
Hamilton: The Colditz Story (War) Asquith: The Young Lovers |
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1955 |
Clair: Les Grands Manoeuvres |
De Sica: Two Women |
Anderson: The Dambusters (War) Mackendrick: The Ladykillers (Comedy) |
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1956 |
Bresson: Un Condamne a mort s’est echappe Gance: Magirama |
Fellini: Le notti di Cabiria Risi: Poor but Beautiful |
Chukrai: The 41st Romm, Mikhail: Murder on Dante Street Romm, Mikhail: Ordinary Facism |
Gilbert: Reach for the Sky (War) Together (1956) Lorenza Mazzetti (Free Cinema) Momma don't Allow Karel Reisz and Tony Richardson (Free Cinema) |
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1957 |
Clair: Porte des lilas Resnais: Le Mystere de l’atelier (Short) |
Reitz & Dorries: Schicksal einer Oper . (57-58) |
Kalatozov: Cranes are Flying |
L. Anderson: Everyday Except Christmas (Free Cinema) |
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1958 |
Becker: Montparnasse 19 Chabrol: Le Beau Serge Resnais: Le Chant du styrene (Short) |
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Abuladze: Someone Else’s Chidren Gerasimov: And quiet lows the Don |
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1959 |
Bresson: Pickpocket Cocteau: Le Testament d’ Orphee Gance (-1960): Austerlitz |
Reitz: Baumwolle (Doc) |
Rosi: I magliari (The Weavers)
Rossellini: Generale Della Rovere |
Boulting: Carlton-Browne of the FO
Richardson: Look Back in Anger (Social Real) Reisz: We are the Lambeth Boys (Free Cinema) |
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1960 |
Becker: Le Trou Carne: Terrain vague Godard: Le Petit soldat (released 1963) |
Lang: The Thousand Eyes of Dr. Mabuse Reitz: Krebsforschung I & ii. (doc short) |
Dearden: The League of Gentlemen
Powell: Peeping Tom (Thriller/Horror) Reisz: Saturday Night and Sunday Morning (Social Real) Gilbert Sink the Bismark (War)
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1961 |
Clair: Tout l’or du monde Godard: Une Femme est une femme |
Kluge: Rennen (Short) Reitz: Yucatan (Short) |
Fellini: Boccaccio ’70 (episode) |
Chukrai: Clear Skies |
Dearden: Victim (Social Real) Richardson: A Taste of Honey Social Real)
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1962 |
Bresson: Le Proces de Jeanne D’arc |
Oberhausen Manifesto: New German Cinema directors
Kluge: Leher im Wandel (62-63) (short) |
Bertolucci: La commare secca Taviani Bros: A Man for Burning Visconti: The Leopard |
Lean: Lawrence of Arabia (War) Schlesinger:A Kind of Loving (Social Real) Dr. No (Spy) Forbes: The L-Shaped Room (Social Real) |
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1963 |
L’Herbier: Hommage a Debussy Resnais: Muriel |
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Taviani Bros: Outlaw of Matrimiony Rosi:Le mani sulla città (Hands Over the City) |
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Brooks: Lord of the Flies From Russia with Love (Spy) Schlesinger: Billy Liar (Social Real +) Richardson: Tom Jones (Literary Adaptation) |
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1964 |
Gance: Cyrano et d’Artagnan Rouch / Godard / Rohmer et al.: Paris vu par |
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Bertolucci: Before the Revolution Pasolini: The Gospel According to St. Matthew Rosi:Il momento della verità (The Moment of Truth) Visconti: Sandra |
Kosinstev: Hamlet |
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1965 |
Carne: Trois chambres a Manhattan Clair: Les Fetes galantes Gance (-1966): Marie Tudor |
Kluge: Yesterday Girl (65-66 Schlondorff: Der junge Torless (65-66) |
Bellocchio: Fists in the Pocket Fellini: Juliet of the Spirits Pontecorvo: The Battle For Algiers
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Boorman: Catch Us if you can (Swinging Sixties) Furie Sidney J: Ipcress File (Spy) Lester: The Knack (Swinging Sixties) Polanski: Repulsion (Horror) Ritt: The Spy Who Came in From the Cold (Spy) Scheslinger: Darling (Swinging 60s)
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1966 |
Bresson: Au hazard Balthazar Godard: Deux ou trois choses que je sais d’elle Resnais: La Guerre est finie |
Reitz: Mahlzeiten (Mealtimes). (66-67) |
Pasolini: The Hawks and the Sparrows |
Anderson (Michael): The Quiller Memorandum Antonioni: Blow Up (Swinging Sixties)
Reisz: Morgan: a Suitable Case for Treatment |
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1967 |
Bresson: Mouchette Gance: Valmy Godard: La Chinoise Pagnol: Le Cure de Cucugnan Resnais: Loin du Vietnam (Part of a collective work) |
Herzog: Signs of Life Kluge: Artists at the Top of the Big Top: Disoriented |
Pasolini: Oedipus Rex Taviani Bros: The Subversives Rosi: C'era una volta(Once Upon a Time) Visconti: The Outsider |
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1968 |
Carne: Les Jeunes Loups Renais: Je t’aime, je t’aime Rohmer: Ma nuit chez Maude |
Herzog: Fata Morgana (68-70) Syberberg: Scarabea |
Bertolucci: Partner Fellini: Histoires extraordinaires (Episode) Taviani Bros: The Magic Bird Taviani Bros: Under the Sign of Scorpio |
Lester: Petulia Reed: Oliver Richardson:Charge of the Light Brigade (Swinging Sixties) Donner: Here We go Round the Mulberry Bush
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1969 |
Bresson: Une Femme douce
Gance (-1971): Bonaparte et la Revolution |
Fassbinder: Love is Colder Than Death Herzog: Even Dwarfs Start Small (69-70) Kluge: The Big Mess (69-70) Sanders-Brahm: Angelika Urban, Verkauferin, verlobt (Doc) |
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Attenborough: Oh what a Lovely War
The Prime of Miss Jean Brodie |
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1970 |
Carne: La Force et la droit
Rohmer: Le Genou de Claire |
Fassbinder: The American Soldier |
Motyl: White Sun oft he Desert (Red Western) |
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1971 |
Bresson: Quatre nuits d’un reveur |
Losey: The Go-Between | ||||
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1972 |
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Fassbinder: The Bitter Tears of Petra von Kant Herzog: Aguirre: Wrath of God Sander: Does the Pill Liberate Women? (Doc). Syberberg: Ludwig: Requiem for a Virgin King Wenders: The Goalkeeper’s Fear of the Penalty Wenders: The Scarlet Letter |
Rosi: Il caso MatteiThe Mattei Affair) (
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Tarkovsky: Solaris |
Kubrick: A Clockwork Orange |
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1973 |
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Fassbinder: Fear Eats the Soul Sander: Male Bonding Wenders: Alice in the Cities |
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Roeg: Don’t Look Now |
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1974 |
Bresson: Lancelot du lac Renais: Stavisky |
Fassbinder: Fox and His Friends Herzog: The Enigma of Kaspar Hauser Syberberg: Karl May |
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Mikhalkov: At Home Among Strangers, A Stranger at Home |
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1975 |
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Schlondorff & von Trotta: The Lost Honour of Katerina Blum Wenders: False Movement Wenders: Kings of hte Road |
Mikhalkov: A Slave of Love Tarkovsky: Mirror |
Monty Python and the Holy Grail |
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1976 |
Carne: La Bible Renais: Providence |
Fassbinder: Chinese Roulette Fassbinder: Satan’s Brew Herzog: Heart of Glass Herzog: Stroszek ((76-77) Reitz: Stunde Null (Zero Hour) Sanders-Brahm: Shirin’s Wedding Syberberg: Our Hitler (76-77) |
Fellini: Il Casanova di Frederico Fellini
Moretti: Io sono un autarchico |
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1977 |
Bresson: Le Diable probablement |
Kluge: The Patriot (77-79) Schlondorff / Fassbinder / Kluge/ Reitz et al : Germany in Autumn Schlondorff: The Tin Drum. (1997098) Von Trotta: The Second Awakening of Christa Klages Wenders: The American Friend |
Mikhalkov: Unfinished Piece for a Mechanical Piano |
Jarman: Jubilee Winstanley |
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1978 |
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Fassbinder: The Marriage of Maria Braun Herzog: Nosferatu |
Mikhakov: Five Evenings |
Harvey: Eagle’s Wing Parker: Midnight Express |
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1979 |
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Schlondorff: The Tin Drum Schlondorff / Kluge / Aust von Eschwege : The Candidate. (79-80) Von Trotta: Sisters or the Balance of Happiness |
Konchalovsky: Sibiriade Menshov: Moscow Does not Believe in Tears Mikhalkov: Several Days in the Life of I.I. Oblamov Tarkovsky: Stalker |
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1980 |
Renais: Mon oncle d’Amerique |
Fassbinder: Lilli Marleen Herzog: Woyzeck Reitz: Heimat (80-84) Sander: The subjective Factor (80-81) Sanders-Brahm: Germany Pale Mother |
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1981 |
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Syberberg: Parsifal (81-82) |
Bertolucci: Tragedy of a Ridiculous Man
Rosi: Tre fratelliThree Brothers) (
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Mikhalkov: Kinsfolk |
Reisz: The French Lieutenant’s Woman Gregory’s Girl |
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1982 |
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Fassbinder: Querelle Schlondorff / Kluge / Engstfeld: War and Peace (82-83) Von Trotta: Friends and Husbands Wenders: The State of Things |
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Anderson (Lindsay): Britannia Hospital
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1983 |
Bresson: L’Argent Renais: La Vie est un roman |
Herzog: Fitzcarraldo Reitz & Kluge: Biermann -Film (short). Schlondorff: Swann in Love Von Trotta: Rosa Luxemburg |
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Mikhalkov: A Private Conversation Tarkovsky: Nostalgia |
MacKenzie: The Honorary Consul Local Hero |
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1984 |
Renais: L’amour a mort |
Syberberg: die Nacht (84-85) |
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1985 |
Varda: Sans toi ni loi |
Kluge: The Blind Director Sanders-Brahm: Old Love (Doc) Schlondorff: Death of a Salesman |
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Frears: My Beautiful Laundrette Lean: A Passage to India |
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1986 |
Barri: Jean de Florette Berri: Manon des sources Resnais: Melo |
Sanders-Brahm: Laputa |
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Ivory: Room With a View Jordan: Mona Lisa |
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1987 |
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Herzog: Cobra Verde Kluge: Odds and Ends Wenders: Wings of Desire |
Olmi: Long Life to the Lady! Rosi: Cronaca di una morte annumciata (Chronicle of a Death Foretold)
Taviani Bros: Good Morning Babilonia |
Mikhalkov: Dark Eyes |
Little Dorrit Wish You Were Here |
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1988 |
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Von Trotta: Three Sisters |
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1989 |
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Wenders: Notebook on Clothes and Cities |
Fellini: Intervista |
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1990 |
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Von Trotta: Return |
Fellini: La voce della luna Rosi: Dimenticare Palermo (To Forget Palermo) Taviani Bros: The Sun also Shines at Night |
Mikhalkov: Autostop |
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1991 |
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1992 |
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Ivory:Room With a View Ivory: Howard’s End |
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1993 |
Kassovitz: Cafe au Lait / Blended
Kieslowski:Three Colours: Blue Kieslowski: Three Colours White (Co-pro)
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Muller: The Wonderful Horrible life of Leni Riefenstahl
Von Trotta: Il Lungo Silenzio |
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Mikhalkov: Anna 6-18 |
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1994 |
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Von Trotta:die Frauen in der Rosenstrasse Von Trotta: The Promise Wenders: Arisha, the Bear and the Stone Ring |
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1995 |
Wenders: Lisbon Story |
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1996 |
Wenders: Lumiere de Berlin |
Moretti: Opening day of 'Close-Up' Rosi: La tregua (The Truce) Taviani Bros: Chosen Affinities |
Minghella: The English Patient |
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1997 |
Kassovitz: Assassin (s) |
Wenders:Alfama Wenders: The End of Violence |
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For contextual links and more films see: British Cinema and Society: Chronology 1997–2010
Prasad: My Son The Fanatic Winterbottom: Welcome to Sarajevo |
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1998 |
Von Trotta: Mit 50 Kussen Manner Anders |
Taviani Bros: You Laugh |
Kapur: Elizabeth Ritchie: Lock, Stock and Two Smoking Barrels Sofley: Wings of a Dove |
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1999 |
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2000 |
Chabrol:Merci pour le Chocolat. Godard: Histoire (s) du cinema Haneke: Code Unknown(French co-pro)
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ContemporaryBritish Directors Hub Page
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2001 |
Denis: Trouble Every Day |
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2002 |
Dilthey: Das Verlangen (The Longing) |
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Loach: Sweet Sixteen |
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2003 |
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| 2004 |
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| 2005 |
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Mireilles: The Constant Gardner |
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| 2006 | von Donnersmarck:The Lives of Others |
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| 2007 |
Kapur: Elizabeth the Golden Age
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| 2008 | Assayas: Summer Hours |
Herman: The Boy in Striped Pajamas
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19 Oct 2007 22:00
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Tags: Angry Anthony Asquith Anton Corbijn Antonioni Askoldov Bertrand Tavernier British Cinema Chronology Of European Cinema Claude Lanzmann Clouzot Edgar Reitz European Cinema European Cinema History European Cultural Studies European Directors European Film Studies Fassbinder Fellini French Cinema Fritz Lang G W Pabst Godard Gurinder Chadha History Of European Cinema Italian Cinema Jean Rouch John Schlesinger Josef Von Baky Ken Loach Kieslowski Kinoeye Leni Riefenstahl Lindsay Anderson Louis Malle Michael Haneke Michael Winterbottom Mike Leigh Pasolini Paul Greengrass Renoir Rivette Robert Hamer Rohmer Rossellini Russian Cinema Silence Soviet Cinema Stephen Frears Tarkovsky Taviani Brothers The Timeline European Cinema Tony Richardson Truffaut Vertov Visconti Volker Schlondorff Von Trotta
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June 16, 2007
Directors for Contemporary British Cinema
British Directors in Contemporary British Cinema
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All active links lead to in house pages on the specific director. Some are still under construction and may not be currently accessible. Please try again soon.
Each page will have a specific webliography and will also have both internal and external links to a range of their films. Obviously this is a major development undertaking and there are currently 30 directors listed below with some more who need to be added.
Apologies for any shortcomings. British contemporary cinema is going to be a key development area in the coming weeks as many visitors are likely to be having an exam on it in the summer. It is recommended that you vist the relevant pages reasonably frequently as there will be quite a lot of change. Pages will be opened as soon as possible and the priority will be to provide a range of the best possible current web links which are considered as good quality.
I hope you will find the system useful.
Introduction
This posting is aimed at the interested general viewer in keeping up to date with British Films and film makers. It also functions as a core resource for the current OCR A2 Unit on Contemporary British Cinema.
Please note the term British Cinema is not the same as British Films. Cinema refers to the industrial systems of production, distribution, and exhibition as a whole. It can also refer to the criticics and reviewers who are employed at any given moment. Directors and the films they make here are only a small part of the industry as a whole.
The list below is primarily taken from the BFI Screenonline Directors on British and Irish Cinema. There are a couple of inclusions of directors who don't really make films in the UK or about the UK. Sir Ridley Scott being one of these and Sir Alan Parker being another. They tend to prove the rule that Hollywood is the global centre of filmmaking which is both American and yet has an extra dimension to it which proves highly attractive to the most successful filmmakers in the world in terms of gaining audiences at least. There are some surprising omissions from the Screenonline listings such as Paul Greengrass. Here I have linked to Wikipedia in the first instance.
List of Contemporary British Directors
Arnold Andrea (1961 -).
Attenborough, Richard (Lord) (1923 - )
Bird, Antonia (1959 - )
Boyle, Danny (1956-)
Branagh Kenneth (1960 -)
Broomfield, Nick (1948 -)
Chadha, Gurinder (1960 - )
Dibb Saul (?)
Daldry, Stephen (1961 - )
Davies, Terence (1945 - )
Forsyth, Bill (1946 -)
Gavron, Sarah ( )
Gilliam, Terry (1940 - )
Greenaway, Peter (1942 -)
Herman, Mark (1954-)
Joffe Roland (1945 - )
Jordan, Neill (1950 -)
Julien, Isaac (1960 - )
Kapur, Shekah ( )
Leigh, Mike (1943 - )
Loach, Ken (1936 - )
Madden, John (1949- )
Meadows, Shane (1973 -)
Minghella, Anthony (1954-2008)
Parker, Alan (Sir) (1944-)
Poliakoff Stephen (1952-)
Potter, Sally (1949 -)
Ramsay Lynne (1969 -)
Ritchie Guy (1968 - )
Scott, Ridley (Sir) (1939 -)
Williams Paul Andrew (?)
Winterbottom, Michael (1961 - )
Wright Joe (1972- )
TO VIEW OTHER CINEMA DEVELOPMENTS IN BRITAIN AND EUROPE PLEASE GO TO THE CHRONOLGY OF EUROPEAN CINEMA HUB PAGE
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16 Jun 2007 07:43
| Tags: Andrea Arnold British Cinema From 1990 British Film Directors Contemporary British Cinema Contemporary British Directors Hub Danny Boyle Gurinder Chadha Guy Ritchie Hub Page Ken Loach Kinoeye Lynne Ramsay Michael Winterbottom Mike Figgis Mike Leigh Nick Broomfield Ocr Media Studies Ors Paul Greengrass Peter Greenaway Sally Potter Sarah Gavron Shane Meadows Stephen Frears
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British Women Film directors
British Women Film Directors
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Introduction
Whilst of general interest to those dealing with issues of gender and cinema this posting should prove useful to those studying Women and Film within the current OCR specification.
Given the large number of British films and the very small number of Women directors the average rocket scientist can swiftly work out that there is a serious gender imbalance within the industry in the UK.
The Directors
This list of directors is taken from the BFI list of Directors in British and Irish Cinema
plus some additions. Sue Clayton isn't in the list although appears elsewhereon the site. Nor does Andrea Arnold feature in the list. Arnold recently made the film Red Road (2006) and has won at the Oscars and at Cannes. The list amounts to 11 women film directors in the history of British cinema. Not a good record over the last 100 years. Of these several are active film makers and can be included in the specification for OCR Contemporary British Cinema. Of these 11 directors five are currently active and include: Andrea Arnold, Antonia Bird, Gurinder Chadha, Sally Potter, Lynne Ramsey.
Adler, Carine (1948-)
Arnold Andrea (1961 -)
Bird, Antonia (1959 -)
Box Muriel (1905 - 1991)
Chadha, Gurinder (1960 -)
Clayton Sue (? )
Grierson, Ruby (1904-1940)
Mander, Kay (1915 - )
Mulvey, Laura (1941 - )
Potter, Sally (1949 - )
Ramsey Lynne ( 1969 -)
Webliography
Guardian feature on the 'Celluloid Ceiling'
Kate Kellaway Guardian blog: Why is that film-making continues to be the most gender inequitable career in the arts?
Rachel Millward Guardian blog: Kate Kellaway asked what could be done to encourage more women into film-making. Here are my suggestions.
Rachel Millward is the organiser for the Bird's Eye View Women's Film Festival. It is solely to celebrate women film makers and started in 2005 in venues across London.
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16 Jun 2007 06:59
| Tags: A Level Film Studies A Level Media Studies Antonia Bird British Women Directors Gurinder Chadha Kinoeye Laura Mulvey Lynne Ramsey Sally Potter Women And Film
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