All 6 entries tagged Michael Winterbottom

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December 26, 2007

In This World: Michael Winterbottom

In This World: 2002. Dir. Michael Winterbottom


Introduction

This entry is currently going to be limited to being a webliography. It is part of an ongoing analysis of contemporary British cinema and its responses to the processes of globalisation and diaspora which are a major feature of contemporary networked society. As such it is cross linked to this entry: Contemporary British Cinema: Representing the World Locally


Awards and Accolades

Berlin Film Festival Golden Bear 2003

BAFTA Film Award 2004  best film not in the English Language category.  

Webliography 

BBC Review In This World

BBC Interview with Michael Winterbottom

Wikipedia In This World 

Indiewire disussion with Michael Winterbottom

Daily Telegraph review: In This World

Chris Darke on Globalisation and In This World

Guardian on In This World

Observer commentary on In This World. (Very useful comments on the industrial and exhibitionary background)

Tony Grisoni on his role in In This World 

Screenonline Bibliography of Michael Winterbottom 

Daily Telegraph Film Makers on Film: Michael Winterbottom

Senses of Cinema on Michael Winterbottom

Philip French Observer Review


Film Availability :           In This World DVD Cover


In This World is available from MovieMail here.  


RETURN TO BRITISH DIRECTORS HUB PAGE 


December 25, 2007

Contemporary British Cinema: Representing The World Locally

Contemporary British Cinema: Representing the World Locally

Preface:

If you have arrived here from the Chronology of European Cinema page the reason is that the film you are interested can be understood as part of the theme above.  You will find  a link below which will take you to a specialist page. See also Globalisation and Cinema Hub Page

Introduction: The Misrepresentations of Global Cinema

As an important media form Cinema as a whole functions through systems of representing the world . How it represents the world and what it represents are extremly important in terms of influencing opinion. The whole global economy is currently in a phase which Manuel Castells has described as a 'Networked society' others call it 'information society' and the 'information economy'. Whilst some consider that the Capitalist system underpinnng this phase is 'Late' Capitalism this comment is more speculative and / or polemical than proven. What is the case is that liberal, largely uncontrolled and deregulated, free market capitalism as an economic system has never been so powerful as it is in its current phase. The collapse of the Soviet Union and the Soviet bloc of Eastern and Central Europe from 1989 onwards has been a central part of this process. The economic regime institued by the Thatcher / Reagan coupling was called "Shock Therapy" in which vast numbers of citizens in the former Soviet Union and the Eastern bloc lost their savings and their jobs. The old style communict China becoming increasingly isolated it has been  changing its  internal model  of the economy and the  political management of this to accomodate capitalism. As a result it now plays a hugely important role in world markets as it has taken over the mantle of 'workshop of the world', a mantle that was a British one for much of the 19th century. 

The human cost of this process has been and is horrendous but much of this process has been largely unrepresented in the popular media. where it has been represented the outcomes of these vast global changes has been represented as a threat from the desperate victims  who have been placed in camps in France whilst trying to gain access to the UK by both legal and illegal means.

The reality which many especially those in the middle and controlling elites choose to ignore is that large cities operate largely on the basis of this informal economy of undocumented labour who through this process lose many of thier human rights. It is a process which has been going on longer in the United States and the theorist Mike Davis in his book City of Quartz out in the early 1990s reported on whole shanty cities full of undocumented workers from Latin America as satellite cities of Los Angeles. Naturally Hollywood cinema has not seen fit to represent these social and cultural issues at a serious level.


Contemporary British Cinema: Representions of the Oppressed 


British cinema, even in Britain itself, is on the margins of the dominant systems of representation (see The Irresistable Rise of the Multiplex) in recent years it has developed a proud tradition of representing the underdog and ensuring that at least a few people gain a different understanding to the process of real life away from the pathetic populist celebrity glamour that dominates so many media forms. 

As can be seen from the list of films below the themes of diaspora and migration and a range of different perspectives upon these processes give us a chance to gain a better understanding of the world.  Of the various subthemes which this important response led by British cinema has neglected perhaps the organised criminality associated with sexual exploitation and the sex trade is the most important. It is dealt with partially in Last Resort and Dirty Pretty Things but the film which most powerfully represent this deeply nasty trade is Lilya 4-ever. Finally the British government is in the process of creating legislation to clamp down on this social evil:


Do we think it's right in the 21st Century that women should be in a sex trade or do we think it's exploitation and should be banned (Harriet Harman in BBC report)

This is of course controversial but should not be cosidered as creating a prurient regime rather as removing a mechanism of exploitation in society. Despite the outrage - mainly from men - in the BBC comments box, sexual commodification deeply degrades and denases humanity. Most of those who are victims of it are forced in by economic circumstance, other pressures or through a childhood of sexual abuse. As such the sex trade reinforces and reflects the unequal relationships of economic and gender power within society.


British Cinema and Diaspora

The list of recent British films which have diaspora and migration as a strong underlying theme include:



Diaspora Cinema 

Conference on the Industrial Context of Diaspora and Migrant Cinema


Film Availability : in_this_world_dvd_cover.jpg   last_resort_dvd_cover.jpg dirty_pretty_things_dvd_cover.jpg Ghosts DVD Cover    It


 



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


Year

France

Germany

Italy

Soviet Union / Russia

United Kigndom

1918

Dulac: Le Bonheur des autres

Gance: Ecce homo

Gance: J’accuse

L’Herbier: Phantasmes


(Weimar Cinema  until the coming of Sound: An Overview)







1919

Dulac: La Cigarette

Dulac: La fete espagnole

Lang: The Spiders

Lang: The Plague in Florence

Lubitsch: Madame Dubarry

Wiene: The Cabinet of Dr. Caligari







1920

Dulac: La Belle dame sans merci

Dulac: Malencontre

Gance (-1922) La Roue

Wegener: The Golem







1921

Dulac: La Morte du soleil

Lang: Destiny

Murnau: Nosferatu







1922

Dulac: Werther (Unfinished)

L’Herbier; Don Juan et Faust

Lang: Dr. Mabuse: The Gambler







1923

Clair: Paris qui dort

Dulac: Gossette

Dulac: La Souriante Mme Beudet

Gance: Au secours

Lang: The Nibelungen







1924

Dulac: La Diable dans la ville

Renoir: La fille de l’eau

Leni: Waxworks

Murnau: The Last Laugh




Eisenstein: Strike

Protazanov: Aelita



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

Lang: Metropolis

Wiene: The Hands of Orlac



Eisenstein: Battleship Potemkin

Kuleshov: The Death Ray



1926

Clair: Le Voyage imaginaire

Dulac: Antoinette Sabrier

Gance (-1928) Danses


Fank: The Holy Mountain

Murnau: Faust

Murnau: Tartuffe



Kuleshov: By the Law

Pudovkin: The Mother

Vertov: A Sixth of the World

Hitchcock: The Lodger

1927

Arrival of sound In USA

Dulac: Le Cinema au service de l’histoire (Compilation)

Dulac: Invitation au voyage

(Online screening available) 

Renoir: Charleston

May: Asphalt

Ruttman: Berlin Symphony of a City


Eisenstein: October

Pudovkin: The end of St. Petersburg

Shub: The End of the Romanov Dynasty

Shub: The Great Road


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: L’Argent

L’Herbier: Un Chapeau de paille d’Italie

Renpoir: Marquetta

Renoir: La petite marchande d’allumettes


Lang: Der Spione

Pabst: Pandora’s Box



Pudovkin: Storm Over Asia

Shub: The Russia of Nicholas II and Lev Tolstoy



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

Pabst: Diary of a Lost Girl

Siodmak et al: People on Sunday



Dovzhenko: Arsenal

Eisenstein: Old and New or The General Line

Kovinstev and Trauberg: The New Babylon

Protazanov: Ranks and People

Turin: Turksib

Vertov: Man With a Movie Camera

Asquith: A Cottage on Dartmoor

Hitchcock: The Manxman (His last silent film) 

Hitchcock: Blackmail

1930

Cocteau: Le sang d’unpoete

Gance: La Fin du Monde

Gance: Autour de La Fin du Monde

Vigo: A Propos de Nice

Von Sternberg: Blue Angel



Dovzhenko: Earth



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

Lang: M

Pabst: The Threepenny Opera

Sagan: Girls in Uniform



Vertov: Enthusiasm



1932

Clair: Le Quatorze juillet

Gance: Mater dolorosa

Pagnol: Fanny (Technically directed by Allegret)

Renoir : La nuit du carrefour

Renoir: Boudu sauve des eaux

Dudow: Kuhle Wampe

Lang: Das Testament das Dr. Mabuse

Riefensthal: The Blue Light



Eisenstein: Que Viva Mexico!



1933

Pagnol: Le Gendre de Monsieur Poirier

Pagnol: Jofroi

Renoir: Chotard et cie

Vigo: Zero de Conduite

(Nazi Film Genres)



Ophuls: Liebelei

Steinhoff: Hitler youth Quex

Zeisler: Viktor and Viktoria




Kuleshov: Velikii uteshitel' (The Great Consoler)

Korda: The Private Life of Henry VIII

1934

Gance: Poliche

Gance (-1935) Napoleon Bonaparte

L’Herbier : Le Scandale

Pagnol: L’Article 330

Pagnol: Angele

Renoir: Madame Bovary

Renoir: Toni

Vigo: L'Atalante

Trencker: The Prodigal Son (1933-34)


Wegener: A Man Must go to Germany



Vasiliev Bros: Chapayev

Hitchcock: The Man who Knew Too Much

1935

Gance: Le Roman d’un jeune homme pauvre

Gance: Jerome Perreaux, heroes de barricades

Gance: Lucrece Borgia

Pagnol: Merlusse

Pagnol: Cigalon

Renoir: Le crime de Monsieur Lange

Renoir: Toni

Riefenstahl: Triumph of the Will

Blasetti: Old Guard

Dovzhenko: Aerograd

Kosintsev and Trauberg: The Youth of Max

Cavalcanti: Coalface

Hitchcock: The Thirty-Nine Steps

1936

Carne: Jenny

Gance: Un Grand amour de Beethoven

Renoir: Partie  de Campagne





Dzigan: We From Kronstadt

Eisenstein: Alexander Nevsky

Hitchcock: Sabotage

1937

Carne: Drole de drames

Gance: Le Voleur de femme

Pagnol: Regain

Renoir: La Grande Illusion



Gallone: Scipio the African




1938

Carne: Hotel du Nord

Carne: quai des brumes

Gance: Louise

Pagnol: La Femme du boulanger

Renoir: La Marseillaise.

Renoir: La bete humaine.

Froelich: Heimat

Reifenstahl: Olympia

Alessandrini: Luciano Serra Pilota



Asquith: Pygmalion

Hitchcock: The Lady Vanishes

Saville: South Riding

1939

Carne: Le Jour se leve

Gance: Le Paradis perdu

L’Herbier: La Brigade sauvage

L’Herbier: Entente cordiale

Renoir: La regle du jeu








For contextual links  and more films see: British Cinema and Society: Chronology 1939–1951


British Cinema of the Second World War


Hitchcock: Jamaica Inn


Korda: The Four Feathers

Reed: The Stars Look Down

Woods: They Drive by Night

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
(on arrival go to p 147) 


Mauder & Sessner :The Attack on Fort Eben-Ebel





Hitchcock: Rebecca

1941

L’Herbier: Histoire de rire

Liebeneiner: I Accuse

Ruhman: Quax the Crash Pilot





Powell and Pressburger: The 49th Parallel

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



De Sica: The Children are Watching Us

Rossellini: L’uomo dalla Croce

Visconti: Ossessione

(Intro to Neorealism

(Thinkquest site "by student team on Neorealism



Cavalcanti: Went the Day Well?

Howard: First of the Few

Lean: In Which We Serve

Powell and Pressburger: One of Our Aircraft is Missing

1943

Becker: Goupi main-rouges

Bresson: Les anges du peche

Carne (-1945) Les Enfants du paradis

Clouzot: Le Corbeau

Von Baky: Munchausen

Rossellini (43-44) : Desiderio



Arliss: The Man in Grey


Powell and Pressburger: The Life & Death of Colonel Blimp


Launder & Gilliat: Millions Like Us

1944

Gance: Manolette





Eisenstein: Ivan the Terrible Part 1

Batty: The Battle for Warsaw (UK / Poland)

Asquith: Fanny by Gaslight

Clayton: Naples is a Battlefield (Documentary)

Lean: This Happy Breed

Olivier: Henry V

Powell and Pressburger ; A Canterbury Tale

Gilliat: Waterloo Road (Spiv)

Reed: The Way Ahead

1945

(French Cultural Policy After WWII

Becker: Falbalas

Bresson: Les Dames du Bois du Boulogne

Carne:Les Enfants du Paradis

Harlan: Kolberg (1943-45)

Rossellini: Roma citta aperta

Eisenstein: Ivan the TerriblePart 2

Arliss: The Wicked Lady

Boulting: Journey Together

Crabtree: They Were Sisters

Lean: Brief Encounter

Powell & Pressburger: I Know Where I’m Going

1946

Carne: Les Portes de la nuit

Cocteau: La Belle et La Bete

L’Herbier: Au petit bonhuer

Staudte: The Murderers are Among Us

De Sica: Shoeshine

Rossellini: Paisa


Crichton: Hue and Cry (Ealing Comedy)

Jennings: A Defeated People

Lean: Great Expectations

Powell & Pressburger: A Matter of Life and Death

1947

Clair: Le Silence est d’or

Lamprecht: Somewhere in Berlin

Rossellini: Germany Year Zero


Boulting Bros: Brighton Rock (Spiv)

Cavalcanti: They Made Me a Fugitive (Spiv)

Hamer: It always Rains on a Sunday (Melodrama / Social Real)

Powell and Pressburger: Black Narcissus

1948

Cocteau: L’Aigle a deux tetes

Cocteau: Les Parentes terribles

Renais: Van Gogh (Short)

Tati: Jour de fete




De Santis: Bitter Rice

De Sica: Bicycle Thieves

Visconti: La Terra Trema



Asquith: The Winslow Boy

Lean: Oliver Twist

Powell & Pressburger:The Red Shoes

Reed: Fallen Idol

1949

Becker: Rendez-vous de juillet

Melville: Les enfants terribles

Melville: Le Silence de la mer



Rossellini: Strombli: Terra di Dio



Reed: The Third Man

Cornelius: Passport to Pimlico

Hamer: Kind Hearts and Coronets

Mackendrick: Whisky Galore

1950

Carne: La Marie du port

Clair: La Beute du diable

Cocteau: Corolian (Short)

Cocteau: Orphee

Genet: Un Chant d'amour

Resnais: Gaugin (Short)

Resnais: Guernica (Short)





Antonioni: Cronaca di un amore

De Sica: Miracle in Milan

Fellini : Variety Lights

Rossellini: Franscesco guillare di Dio



Lee: The Wooden Horse

Deardon: The Blue Lamp (Social Problem Films)

Odette (Biopic / War)

1951

Bresson: Le Journal d’un cure de campagne

Cocteau: La Villa Santo-sospir

Staudte: The Subject (GDR banned FDR)

De Sica: Umberto D

Fellini: The White Sheik

Visconti: Bellissima



For contextual links and more films see: British Cinema and Society: Chronology 1951–1964


Boulting: High Treason (Anti-Communist)

Boulting: The Magic Box

Crichton: The Lavender Hill Mob

Mackendrick:The Man in a White Suit

1952

Becker: Casque d’or

Pagnol: Manon des sources

Tati: Les Vacances de Monsieur Hulot



Antonioni: I vinti


Rosi:Camicie rosse (Red Shirts)


Rossellini: Europa ‘51





Asquith: The Importance of Being Earnest 

Lean: The Sound Barrier

Frend: The Cruel Sea (War)

1953

Carne: Therese Raquin

Clouzot: Wages of Fear

Gance: La 14 juillet 1953

L’Herbier: Le Pere de madamoiselle


Antonioni: La signora senza camelie

Fellini: I vitelloni


L. Anderson: O Dreamland (Social Real)

Cornelius: Genevieve

Crichton: The Titfield Thunderbolt (Comedy)

Gilbert: The Cosh Boy (first Brit X Rated Film) 


Reed: The Man Between (Anti-Communist)

1954

Becker: Touchez pas au grisbi

Carne: L’Air de Paris

Gance: La Tour du Nesle

Varda: La Pointe courte

Kautner: Ludwig II

Kautner: The Last Bridge

Fellini: La strada

Rossellini: Viaggio in Italia

Rossellini: Fear

Visconti: Senso


Hamilton: The Colditz Story (War)

Asquith: The Young Lovers

1955

Clair: Les Grands Manoeuvres

Clouzot: Les Diaboliques

Dassin: Rififi

Renais: Nuit et Brouillard (Short)


Antonioni: Le amiche

Fellini: Il bidone

De Sica: Two Women


Anderson: The Dambusters (War)

Mackendrick: The Ladykillers (Comedy)

1956

Bresson: Un Condamne a mort s’est echappe

Gance: Magirama

Resnais: Toute la memoire du monde (Short)


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) 

1957

Clair: Porte des lilas

Malle: Lift to the Scaffold

Melville: Bob le Flambeur

Truffaut: Les Mistons (short)

Resnais: Le Mystere de l’atelier (Short)

Rivette: Le Coup du berger (Short)

Reitz & Dorries: Schicksal einer Oper . (57-58)

Antonioni: Il grido

Visconti: White Nights

Kalatozov: Cranes are Flying

Boulting: Lucky Jim

L. Anderson: Everyday Except Christmas (Free Cinema)

Lean: Bridge on the River Kwai (War)

1958

Becker: Montparnasse 19

Carne: Les Tricheurs

Chabrol: Le Beau Serge

Malle: Les Amants

Resnais: Le Chant du styrene

(Short)

Tati: Mon Oncle




Rosi: La sfida (The Challenge)

Abuladze: Someone Else’s Chidren

Gerasimov: And quiet lows the Don



1959

Bresson: Pickpocket

Cocteau: Le Testament d’ Orphee

Gance (-1960): Austerlitz

Resnais: Hiroshima mon amour

Truffaut: 400 Blows

Reitz: Baumwolle (Doc)

Rosi: I magliari (The Weavers)


Rossellini: Generale Della Rovere

Chukrai: Ballad of a Soldier

(British New Wave)

Boulting: I'm Alright Jack

Boulting: Carlton-Browne of the FO


Clayton: A Room at the Top

Greville: Beat Girl 

Hamer: School for Scoundrels

Reed: Our Man In Havana

Richardson: Look Back in Anger (Social Real)

Reisz: We are the Lambeth Boys (Free Cinema)

Thompson: Tiger Bay

1960

Becker: Le Trou

Carne: Terrain vague

Clement: Plein Soleil

Godard: A Bout de souffle

Godard: Le Petit soldat (released 1963)

Rivette: Paris nous appartient

Truffaut: Tirez sur le pianiste

Lang: The Thousand Eyes of Dr. Mabuse

Reitz: Krebsforschung I & ii. (doc short)

Antonioni: L’avventura

Fellini: La dolce vita

Visconti: Rocco and His Brothers

Tarkovsky:The Steamroller and the Violin

Dearden: The League of Gentlemen

Green: The Angry Silence


Powell: Peeping Tom (Thriller/Horror)

Reisz: Saturday Night and Sunday Morning (Social Real)

Gilbert Sink the Bismark (War)



1961

Clair: Tout l’or du monde

Godard: Une Femme est une femme

Truffaut: Jules et Jim

Resnais: L’Annee derniere a Marienbad

Varda: Cleo de 5 a 7

Kluge: Rennen (Short)

Reitz: Yucatan (Short)

Antonioni: La notte

Fellini: Boccaccio ’70 (episode)

Pasolini: Accattone

Rosi: Salvatore Giuliano

Chukrai: Clear Skies

Dearden: Victim (Social Real)

Richardson: A Taste of Honey Social Real)



1962

Bresson: Le Proces de Jeanne D’arc

Godard; Vivre sa vie

Marker: La Jetee

Melville:Le Doulos

Oberhausen Manifesto: New German Cinema directors


Kluge: Leher im Wandel (62-63) (short)

Antonioni: L’eclisse

Bertolucci: La commare secca

Pasolini: Mama Roma

Taviani Bros: A Man for Burning

Visconti: The Leopard

Tarkovsky: Ivan’s Childhood

Lean: Lawrence of Arabia (War)

Schlesinger:A Kind of Loving (Social Real)

Dr. No (Spy)

Forbes: The L-Shaped Room (Social Real)

1963

Godard: Le Mepris

Franju: Judex/Nuits Rouge

L’Herbier: Hommage a Debussy

Resnais: Muriel



Fellini: 8 1/2

Taviani Bros: Outlaw of Matrimiony

Rosi:Le mani sulla città (Hands Over the City



Anderson: This Sporting Life

Brooks: Lord of the Flies

Losey: The Servant

From Russia with Love (Spy)

Schlesinger: Billy Liar (Social Real +)

Richardson: Tom Jones (Literary Adaptation)

1964

Gance: Cyrano et d’Artagnan

Godard: Bande a part

Rouch / Godard / Rohmer et al.: Paris vu par



Antonioni: il deserto rosso

Bertolucci: Before the Revolution

Pasolini: The Gospel According to St. Matthew

Rosi:Il momento della verità (The Moment of Truth

Visconti: Sandra

Kosinstev: Hamlet



Lester: A Hard Day’s Night (Swinging Sixties)

1965

Carne: Trois chambres a Manhattan

Clair: Les Fetes galantes

Gance (-1966): Marie Tudor

Godard: Alphavile

Godard: Pierrot le fou

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





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)


Loach: Up the Junction

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

Tarkovsky (released 1971) Andrei Rublev

Anderson (Michael): The Quiller Memorandum

Antonioni: Blow Up (Swinging Sixties)

Hamilton: Funeral in Berlin

Narizzano: Georgy Girl


Alfie

Polanski: Cul de Sac

Reisz: Morgan: a Suitable Case for Treatment

Zinneman: A Man For All Seasons

1967

Bresson: Mouchette

Gance: Valmy

Godard: La Chinoise

Godard: Week-End

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

Askoldov: The Commissar

Losey: Accident

Loach: Poor Cow

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)

Pasolini: Theorem

Taviani Bros: The Magic Bird

Taviani Bros: Under the Sign of Scorpio


Anderson: If

Lester: Petulia

Reed: Oliver

Richardson:Charge of the Light Brigade (Swinging Sixties)

Donner: Here We go Round the Mulberry Bush

1969

Bresson: Une Femme douce

Costa-Gravas: 'Z'


Gance (-1971): Bonaparte et la Revolution

Melville: L'armee des hombres

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)

Wenders (69-70): Summer in the City

Fellini: Fellini Satyricon

Pasolini: Pigsty

Pontecorvo: Qiemada

Rossellini: Acts of the Apostles

Visconti: The Damned



Hamilton : Battle of Britain

Attenborough: Oh what a Lovely War

Loach: Kes


The Prime of Miss Jean Brodie

1970

Carne: La Force et la droit


Melville: Le Circle Rouge

Rohmer: Le Genou de Claire

Fassbinder: The American Soldier

Bertolucci: The Conformist

Bertolucci: The Spider’s Strategem

Fellini: I Clowns

Pasolini: Medea

Pasolini: The Decameron

Rosi:Uomini contro

Rossellini: Socrate

Motyl: White Sun oft he Desert (Red Western)


Roeg: Performance

1971

Bresson: Quatre nuits d’un reveur




Losey: The Go-Between

1972



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

Antonioni: China

Fellini: Roma

Rosi: Il caso MatteiThe Mattei Affair) (


Visconti: Ludwig

Tarkovsky: Solaris

Kubrick: A Clockwork Orange

1973



Fassbinder: Fear Eats the Soul

Sander: Male Bonding

Wenders: Alice in the Cities

Bertolucci: Last Tango in Paris

Fellini: Amacord

Moretti: La sconfitta

Rosi: Lucky Luciano



Roeg: Don’t Look Now

Anderson: O Lucky Man

1974

Bresson: Lancelot du lac

Renais: Stavisky

Rivette: Celine and Julie Go Boating

Fassbinder: Fox and His Friends

Herzog: The Enigma of Kaspar Hauser

Syberberg: Karl May


Moretti: come parle,frate?

Pasolini: Arabian Nights

Taviani Bros: Alonsanfan

Visconti: Conversation Piece

Mikhalkov: At Home Among Strangers, A Stranger at Home



1975



Schlondorff & von Trotta: The Lost Honour of Katerina Blum

Wenders: False Movement

Wenders: Kings of hte Road

Antonioni: The Passenger

Pasolini: Salo

Rossellini: The Messiah

Mikhalkov: A Slave of Love

Tarkovsky: Mirror

Monty Python and the Holy Grail

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)

Bertolucci: 1900

Fellini: Il Casanova di Frederico Fellini


Moretti: Io sono un autarchico

Rosi: Cadaveri eccellentiIllustrious Corpses) (

Visconti: L'Innocente (The Intruder)





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

Taviani Bros: Padre, Padrone

Mikhalkov: Unfinished Piece for a Mechanical Piano

Jarman: Jubilee

Winstanley

1978



Fassbinder: The Marriage of Maria Braun

Herzog: Nosferatu

Fellini: Prova d’orchestra

Moretti: Ecce Bombo

Olmi : Tree of Wooden Clogs

Mikhakov: Five Evenings

Harvey: Eagle’s Wing

Parker: Midnight Express

1979



Schlondorff: The Tin Drum

Schlondorff / Kluge / Aust von Eschwege : The Candidate. (79-80)

Von Trotta: Sisters or the Balance of Happiness

Bertolucci: La luna

Fellini. Prova d'orchestra

Rosi: Cristo si è fermato a EboliChrist Stopped at Eboli) (

Taviani Bros: The Meadow

Konchalovsky: Sibiriade

Menshov: Moscow Does not Believe in Tears

Mikhalkov: Several Days in the Life of I.I. Oblamov

Tarkovsky: Stalker

Monty Python’s Life of Brian

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

Antonioni: Il mistero di oberwald

Fellini: City of Women



Roeg: Bad Timing

1981



Fassbinder: Lola

Fassbinder: Veronika Voss

Syberberg: Parsifal (81-82)

Von Trotta: The German Sisters

Bertolucci: Tragedy of a Ridiculous Man

Moretti: Sogni d'oro


Rosi: Tre fratelliThree Brothers) (


Taviani Bros: Night of the Shooting Stars

Mikhalkov: Kinsfolk

Reisz: The French Lieutenant’s Woman

Hudson: Chariots of Fire

(Start of Heritage Cinema?

Gregory’s Girl

1982



Fassbinder: Querelle

Schlondorff / Kluge / Engstfeld: War and Peace (82-83)

Von Trotta: Friends and Husbands

Wenders: The State of Things

Antonioni: Identificazione di una donna



Anderson (Lindsay): Britannia Hospital 


Greenaway: The Draughtsman’s Contract

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


Moretti: Bianca

Mikhalkov: A Private Conversation

Tarkovsky: Nostalgia

Gilbert: Educating Rita

Leigh: Meantime

MacKenzie: The Honorary Consul

Local Hero

Potter: The Goldiggers

Eyre: The Ploughman’s Lunch

1984

Renais: L’amour a mort

Reitz: Heimat Part 1

Syberberg: die Nacht (84-85)

Rosi: Carmen


Taviani Bros: Chaos



Joffe: The Killing Fields

1985

Varda: Sans toi ni loi

Lanzmann: Shoah

Kluge: The Blind Director

Sanders-Brahm: Old Love (Doc)

Schlondorff: Death of a Salesman


Moretti:La messa e finita



Bernard: Letter to Brehznev

Frears: My Beautiful Laundrette

Lean: A Passage to India

1986

Barri: Jean de Florette

Berri: Manon des sources

Resnais: Melo

Sanders-Brahm: Laputa





Cox: Sid and Nancy


Douglas:Comrades

Ivory: Room With a View

Jordan: Mona Lisa

1987



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

Ivory: Maurice

Frears: Prick up Your Ears

Wish You Were Here

Robinson:Withnail & I

1988



Von Trotta: Three Sisters





Greenaway: Drowning by Numbers

Leigh: High Hopes

Sammy and Rosie Get Laid

1989



Wenders: Notebook on Clothes and Cities

Fellini: Intervista

Moretti: Palombello rossa



Greenaway: The Cook, the Thief, his Wife and Her Lover

Julien: Looking for Langston

1990



Von Trotta: Return

Fellini: La voce della luna

Moretti: La cosa

Rosi: Dimenticare Palermo (To Forget Palermo)

Taviani Bros: The Sun also Shines at Night

Mikhalkov: Autostop

Leigh: Life is Sweet

Minghella: Truly, Madly, Deeply

1991

Carax: Les amants du Pont-Neuf

Jeunet & Caro: Delicatessen

Pialat: Van Gogh

Wenders: Until the End of the World



Mikhalkov: Urga: Territory of Love

Loach: Riff Raff

1992




Reitz: Heimat Part 2


Rosi: Diario napoletano (Neapolitan Diary)



Ivory:Room With a View

Ivory: Howard’s End

Neil Jordan : The Crying Game

1993

Kassovitz: Cafe au Lait / Blended


Kieslowski:Three Colours: Blue

Kieslowski: Three Colours White (Co-pro)


Muller: The Wonderful Horrible life of Leni Riefenstahl


Von Trotta: Il Lungo Silenzio

Wenders: Far Away so Close


Taviani Bros: Fiorile

Mikhalkov: Anna 6-18

Leigh: Naked

Loach: Raining Stones

Potter: Orlando

1994

Chereau, La Reine Margot


Kieslowski: Three Colours Red (Co-pro)

Von Trotta:die Frauen in der Rosenstrasse

Von Trotta: The Promise

Wenders: Arisha, the Bear and the Stone Ring


Moretti: Caro diario

Moretti: L'unico paese al mondo

Mikhalkov: Burnt By the Sun

Chada: Bhaji on the Beach

Newall: Four Weddings and a Funeral

1995

Kassovitz: La Haine

Mimouni: L’Appartement

Wenders: Lisbon Story

Antonioni ( +Wenders) : Beyond the Clouds



Boyle: Shallow Grave

Winterbottom: Butterfly Kiss

1996


Wenders: Lumiere de Berlin

Moretti: Opening day of 'Close-Up'

Rosi: La tregua (The Truce)

Taviani Bros: Chosen Affinities


Boyle: Trainspotting

Herman:Brassed Off

Lee: Sense and Sensibility

Leigh: Secrets and Lies

Minghella: The English Patient

1997

Kassovitz: Assassin (s)

Wenders:Alfama

Wenders: The End of Violence





For contextual links and more films see: British Cinema and Society: Chronology 1997–2010




Boyle: A Life Less Ordinary

Madden:Mrs. Brown

Potter: The Tango Lesson

Prasad: My Son The Fanatic

Ramsey: Kill the Day

Winterbottom: Welcome to Sarajevo

1998


Von Trotta: Mit 50 Kussen Manner Anders

Moretti: Aprile

Taviani Bros: You Laugh

Mikhalkov: The Barber of Siberia

Kapur: Elizabeth

Leigh: Career Girls

Ritchie: Lock, Stock and Two Smoking Barrels

Sofley: Wings of a Dove

1999



Twyker: Run Lola Run

Benigni : Life is Beautiful



Jordan: The End of the Affair

Leigh: Topsy Turvey  

Michell: Notting Hill


O'Donnell: East is East

Ramsey:Ratcatcher

Rozema: Mansfield Park

2000

Chabrol:Merci pour le Chocolat.

Chereau: Intimacy

Godard: Histoire (s) du cinema

Haneke: Code Unknown(French co-pro) 


Ozon: Water Drops on Burning Rocks




Frazzi & Frazzi:The Sky is Falling




Contemporary
British Directors Hub Page


Pawlikowski: The Last Resort

2001

Denis: Trouble Every Day

Godard: Eloge de l’amour

Haneke: The Piano Teacher

Jeunet: Amelie

Ozon: 8 Women

Tavernier: Laissez-Passer

Hirschbiegel: Das Experiment


Moretti: The Son’s Room



McGuire: Bridget Jone’s Diary


Winterbottom: 24 Hour Party People

Loach: The Navigators

2002

Breillat: Sex Is Comedy

Philibert: Etre et avoir

Dilthey: Das Verlangen (The Longing)




Sokhurov: Russian Ark

Chadha: Bend it Like Beckham

Greengrass:Bloody Sunday



Hüseyin: Anita and Me

Mackenzie: Young Adam

Leigh: All or Nothing

Loach: Sweet Sixteen

Ramsey: Morven Callar

2003


Rohmer: Triple Agent

Becker: Goodbye Lenin!

Reitz: Heimat Part 3


Bellocchio: Good Morning Night



Frears : Dirty Pretty Things

Hodges: I'll Sleep When I'm Dead 

2004
Hirschbiegel:Downfall


Leigh: Vera Drake

Loach: Ae fond Kiss

Gleenan: Yasmin

Pawlikowski: My Summer of Love

Potter: Yes

2005

Haneke: Caché


Rothemund:Sophie Scholl

Weingartner:The Edukators




Dibb: Bullet Boy

Frears: The Queen

Mireilles: The      Constant Gardner

Winterbottom: A Cock and Bull Story

Wright (J): Pride and Prejudice

2006
von Donnersmarck:The Lives of Others


Arnold: Red Road

Loach: Wind That Shakes the Barley

Meadows: This is  England

Williams: London to Brighton

Winterbottom: The Road to Guantanamo

2007



Broomfield: Ghosts

Corbijn: Control

Gavron: Brick Lane

Kapur: Elizabeth the Golden Age  

Loach: It's a Free World

Winterbottom: A Mighty Heart

Winterbottom: Genova

Wright: Atonement


2008 Assayas: Summer Hours




Davies: Of Time and The City

Herman: The Boy in Striped Pajamas

Leigh: Happy-Go-Lucky

Maybury: The Edge of Love

Meadows: Somers Town






June 16, 2007

Directors for Contemporary British Cinema

British Directors in Contemporary British Cinema

Return to Contemporary British Cinema Hub

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 - )

Corbijn Anton

Dibb Saul (?) 

Daldry, Stephen (1961 - )

Davies, Terence (1945 - )

Figgis Mike (1948 -)

Forsyth, Bill (1946 -) 

Frears, Stephen (1941 -) 

Gavron, Sarah (    ) 

Gilliam, Terry (1940 - ) 

Greenaway, Peter (1942 -)

Greengrass, Paul (1955 - )

Hodges, Mike (1932 - )

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-) 

Pawlikowski Pawel (?)

Poliakoff Stephen (1952-)

Potter, Sally (1949 -) 

Ramsay Lynne (1969 -)

Ritchie Guy (1968 - )

Scott, Ridley (Sir) (1939 -) 

Williams Paul Andrew (?) 

Winterbottom, Michael (1961 - ) 

Wright Edgar (1974 -   ) 

Wright Joe (1972- )

TO VIEW OTHER CINEMA DEVELOPMENTS IN BRITAIN AND EUROPE PLEASE GO TO THE CHRONOLGY OF EUROPEAN CINEMA HUB PAGE


Return to Contemporary British Cinema Hub


December 17, 2006

24 Hour Party People(2001). Dir. Michael Winterbottom

24 Hour Party People (2001), dir: Michael Winterbottom

Introduction

Michael Winterbottom

Above: Michael Winterbottom

Michael Winterbottom is one of Britain’s most interesting film directors working today. A director like Ken Loach has developed a certain typical ‘feel’ to his films. Loach combines this with an underlying politics linking in to his filmmaking methods. By comparison Winterbottom maintains a political edge to his films which is less didactic than that of Loach. Perhaps that is unsurprising as he cites Lindsay Anderson as a strong influence. Winterbottom frequently gains the title of being ‘eclectic’ or a ‘genre-hopper’ which seems to be a negative criticism.

Not a Genre Monkey

It should by now be clear to reviewers that Winterbottom isn’t a genre filmmaker and if his films touch upon genres, just as this one touches on the rock movie genre, then it is because there is a deeper project at stake. He takes up projects and he is usually giving them a political twist. This twist may be within the aesthetic approach of the film itself rather than a direct aspect of the content. The latter approach based directlu upon content is more in the nature of the social realist approach. This is the kind of approach espoused by directors like Loach.

Steve Coogan as Tony Wilson

Above: Steve Coogan as Tony Wilson founder of Factory Records

Ignoring the aesthetic and intellectual influences

It is interesting that none of the reviews this article has linked to below comment upon his aesthetic approach even though these are from the more ‘intellectual’ end of the media. Perhaps this is unsurprising because a seemingly recurrent theme in Winterbottom’s films is the media. The way Winterbottom deals with the question of ‘point of view’ is also interesting. In 24 Hour Party People there is little in the way of point of view from a subjective perspective. Although the story is told by Steve Coogan, who’s character Tony Wilson is the founder of Factory Records, the cinematic narrative moves around. Not only does Coogan / Wilson break the ‘fourth wall’ by frequently addressing the audience directly, often the narrative comes from a Coogan who suddenly speaks from the future about the on-screen diegesis.

Winterbottom and the Media

Welcome to Sarajevo is one of Winterbottom’s films that effectively acts a critique of the media. Through the finding of a small boy in the chaos that was war-torn Sarajevo a TV reporter breaks through the professional patina of the media. The reporter starts to take a personal interest in what he is reporting thus the irony of presenting viewers with the spectacle of News which is inherently voyeuristic is highlighted. The voyeurism of ‘Bad News’ is reliant upon spectacle in war footage or else the aftermath of natural disaster.

Increasingly of course, the rise of ‘citizen reporting’ by amateurs with digital video is creating a different news aesthetic. Perhaps Winterbottom will return to that aspect of media in a future film project.

A Brechtian Aesthetic

Whilst Welcome to Sarajevo was in more of a humanistic mode 24 Hour Party People creates a more Brechtian approach. The distanciation effect or verfremdungseffekt through the breaking of the fourth wall by directly addressing the audience isn’t just a ‘postmodern’ vanity – indeed the film adds layers of irony by effectively critiquing postmodern irony itself. It enables the audience to take a more critical stance in considering the content of the film.

Rather than being an uncritical sycophantic or hagiographic film about pop and rock heroes being ‘done down’ in some dramatic way, the film carefully eschews drama and personal point of view to take a more detached view. Here Steve Coogan becomes an excellent casting choice. How much Coogan represents the ‘real’ Tony Wilson is entirely irrelevant. His irony and quick wittedness are perfect for a film which is constructed as a critique, not of Factory Records or the Hacienda Club or even youth culture in general, rather it leads the more critical mind to be analysing the workings of the system itself.

The Rock Movie Genre

The rock movie genre really took off in the 1960s. There were of course films about Elvis Presley first of all. But the rock movie really took of with A Hard Days Night by Richard Lester with the free flowing camera work that came to characterise the MTV pop-video. Sid and Nancy by Alex Cox was more of a standard biopic although it was hard hitting and critical. Not least of the kind of entrepreneurial opportunism of a character like Malcolm Maclaren. MacLaren is the sort of character who is implicitly critiqued off-screen in 24 Hour Party People, precisely because the whole of the Manchester (Madchester) scene was set in motion by the raw energy of the Sex Pistols, the band which brought Maclaren fame and fortune.

Andy Serkis as Soundman Martin Hannett

What Winterbottom’s film seems to be examining among other things is the inevitable tensions between the creation of a youth culture which is dependent upon naivety combined with lashings of energy and enthusiasm and the workings of industry and business. Here, as we see, Factory Records and the Hacienda Club cannot sell out. There is quite literally nothing to sell, instead the idealism is eroded and eventually heavily compromised by the real forces of chaos and anarchy in society the ‘lumpen’ criminal classes.

There is no such thing as a utopian 24 Hour Party in which the workings of the system can somehow be ignored in some utopian space. The criminal classes eventually come to control the door and the massive drug fuelled scene in the Hacienda. The drug scene itself can be seen as a part of the reaction of young people to a ‘no future’ type’ of a culture in which the living is done for today not tomorrow.

Tony Wilson and Factory Records

The story is based upon Tony Wilson who is a young ex-Cambridge graduate who has found a post in Granada TV. He is a part of the regional magazine programme doing cheesy features on various aspects of the region.

Wilson at the Sex Pistols Gig

Wilson is incredibly frustrated and eventually manages to get a music programme on the TV devoted to the ‘New Wave’ punk music. From here he eventually manages to get some bands to agree to start a record label with no contract. They are free to walk away at any time. The success of this leads to the establishing of the Hacienda Club. As a cultural space it was fantastic for a time, as a business it was a flop and running it bled Factory records dry.

When Factory Records was seeking an injection of new capital to produce a new record the entrepreneurs from London Records offered Factory Records £5 million. It was then that the audience really find out the meaning of the agreement not to have a contract. There is nothing to sell and of course Factory Records becomes history.

Exposed underlying contradictions in society

But this film isn’t so much about the nasty music business. On the contrary it is represented as a straight business like anything else. If anything, it is the drug gangs who are most in line for Winterbottom’s critical eye. But even they are seen as a certain kind of response to the post-industrial crisis of Manchester.

Nevertheless a telling critique of them comes in the ironical explanation provided by Coogan who explains that the cycle of capital has broken down precisely because they are parasites and don’t reinvest in the business they are bleeding. Instead they spend it on drink, guns, houses, fashion and women.

Winterbottom places the audience in a triangular frame. Idealist youth / business / anarchic lumpen criminal elements make up the sides of the frame. Winterbottom doesn’t give the audience any kind of didactic answer. He has posed a question of whether this will always be the case. It is up to us as audience to come up with a solution to the dilemma.

An Analysis of History

Winterbottom’s position here shouldn’t be confused with the cyclical version of history which keeps surfacing within the film. W. B. Yeats is frequently referenced and he was a believer in this idea. In brief it is the notion that what arises will be sucked back down as his famous line Things fall apart the centre cannot hold elaborates.

Winterbottom poses us with a more complex dialectical situation. Either the synthesis of the contradiction will move forward onto a higher plane or there will be a negation. In this case the idealism of Factory records and the cultural movement around it fades away. It goes down as a cultural moment, a fascinating experiment. Perhaps if Walter Benjamin were written about it he would describe it as a rupture or fissure within capitalism providing an opportunity to envisage another kind of society. In its heyday Factory and the Hacienda were remarkably free and utopian but it became a victim of its own success, unable to move forward.

Although Winterbottom’s critique is about a period long gone, the question is posed with every youth ‘New Wave’, will it sell out or will it collapse under its own internal contradictions? With the continuing hype around the Web with business and utopian discourse continuously clashing it is an ever present question.

Overall it is a film worth seeing for a range of reasons, and on the linked reviews below it is a clear that the film has been considerably underrated by the critics and reviewers with its theoretical and critical influences and antecedents carefully ignored – but then many of the best films are underrated. It happened with Lindsay Anderson’s films too.

PS

I just loved the ridiculously priced office table :-).

Links

BBC Coventry & Warwickshire Review

Interview with Steve Coogan

Who’s Who in the Film. Helpful to track down the role an various characters portrayed in the film

Information about the set of 24 Hour Party People

Guardian Review of 24 Hour Party People

Observer Review by Philip French

A more in depth Guardian interview with Michael Winterbottom. The best of the these linked articles.

Winterbottom a well kept secret

Senses of Cinema article on Winterbottom’s output

British Council Brit Film pages on Winterbottom

BFI Biography of Winterbottom

Seen the film, read all this and the above links, seen the film again? Now you can contribute in a really informed way to this BBC discussion page on the film.

Here is a link to a Realplayer interview with Steve Coogan on Channel 4. Currently I can’t get it to play but you might have better luck (technical ability).

Link to the official Cannes site. A press conference with Winterbottom be accessed here.

Alternatively you can contribute to discussion in the comments box below.


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The BFI Glossary of Film Terms

http://www.screenonline.org.uk/education/glossary.html#new-wave
screenonline: Glossary of Film and Television Terms

BBC Film Network

http://www.bbc.co.uk/filmnetwork/
BBC – Film Network – Homepage

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Free Cinema

UK Film Council

http://www.ukfilmcouncil.org.uk/
The UK FILM COUNCIL

Malcolm McDowell Introduces British Free Cinema

http://www.screenonline.org.uk/tours/mcdowell/tourmcdowell.html
screenonline: Malcolm McDowell on Free Cinema

Paul Merton Introduces Early British Comedy

http://www.screenonline.org.uk/tours/merton/tourmerton1.html
screenonline: Paul Merton on Early British Comedy

Bill Douglas Centre

http://www.centres.ex.ac.uk/bill.douglas/menu.html
Welcome to the Bill Douglas Centre

Vertigo: British based journal about global independent cinema

http://www.vertigomagazine.co.uk/
Vertigo Magazine – for Worldwide Independent Film

Deutsche Film Portal

http://www.filmportal.de/df/3c/Artikel,,,,,,,,STARTSEITEENGLISHSTARTSEITEENGLI,,,,,,,,,,,,,,,,,,,,,,,,,,,.html
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The Berlin Film Museum

http://osiris2.pi-consult.de/view.php3?show=5100002920142
Filmmuseum Berlin – Deutsche Kinemathek

Goethe Institute London Film Pages

http://www.goethe.de/ins/gb/lon/kue/flm/enindex.htm
Goethe-Institut London – The Arts – Film

Expressionist film

German Expressionism

Wilhelm Murnau Stiftung

http://www.murnau-stiftung.de/index_static.html
Friedrich-Wilhelm-Murnau-Stiftung

Eureka Metropolis

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Run Lola Run

Das Experiment

Lives of Others

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Bondanella Italian Cinema

Italian Neorealism Rebuilding the Cinematic City

Visconti The Leopard

Rocco and His Brothers

Visconti's Ossessione

Neorealist Collection

Framework a Peer assessed Film and Media Journal

http://www.frameworkonline.com/index2.htm
Framework: The Journal of Cinema and Media

Kinoeye. No relation to this blog. Cinema journal mainly focused upon Central & Eastern Europe

http://www.kinoeye.org/index_04_05.php
Kinoeye | Polish cinema | Vol 4.05, 29 November 2004

Cineuropa: A joint initiative

http://www.cineuropa.org/aboutmission.aspx?lang=en&treeID=879
Cineuropa – About us – Our Mission

Talk About Films: the Independent and Foreign Films Discussion Group Go to 'Invalid Account'

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Audio content from The Economist magazine, including interviews with journalists and experts on world politics, business, finance, economics, science, technology, culture and the arts.

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Haunted Images: Film & Holocaust

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