British Cinemas, British Cinemas, British IdentitiesBritish Identities

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Who Are We?Who Are We?

Britain and England are not the same.Britain and England are not the same. Britain = England, Scotland, Wales, Britain = England, Scotland, Wales,

Northern Ireland/the North of Ireland.Northern Ireland/the North of Ireland. Regional identities.Regional identities. Ethnic identities.Ethnic identities. ‘‘I’m British but ….’ I’m British but ….’

Identity Crisis?Identity Crisis?

‘‘Identity only becomes an issue when it is Identity only becomes an issue when it is in crisis, when something assumed to be in crisis, when something assumed to be fixed, coherent and stable is displaced by fixed, coherent and stable is displaced by the experience of doubt and uncertainty’.the experience of doubt and uncertainty’.

(Kobena Mercer, quoted in (Kobena Mercer, quoted in Modernity and its Modernity and its Futures, Futures, Stuart Hall, Polity 1992).Stuart Hall, Polity 1992).

Who are we???Who are we???

Components of the CrisisComponents of the Crisis

Globalisation.Globalisation. ‘‘Europe’.Europe’. Northern Ireland/North of Ireland.Northern Ireland/North of Ireland. Devolution.Devolution. Ethnicity.Ethnicity.

Culture and National IdentityCulture and National Identity

‘‘A nation does not express itself through its A nation does not express itself through its culture: it is cultural apparatuses that produce the culture: it is cultural apparatuses that produce the nation’. (James Donald, nation’. (James Donald, Sentimental EducationSentimental Education, , Verso 1992).Verso 1992).

The nation is not just a collection of institutions, it The nation is not just a collection of institutions, it is a system of cultural representations, a symbolic is a system of cultural representations, a symbolic community.community.

The media play a key role in this system:The media play a key role in this system: Through Brit film we have become known for Through Brit film we have become known for

heroin abuse, bowler hats, chimney sweeps, crime heroin abuse, bowler hats, chimney sweeps, crime capers and Football hooliganismcapers and Football hooliganism

Nations and StoriesNations and Stories

‘‘Nations and peoples are largely the stories they feed Nations and peoples are largely the stories they feed themselves’. (Ben Okri, themselves’. (Ben Okri, Birds of HeavenBirds of Heaven, Phoenix 1996)., Phoenix 1996).

‘‘The life of nations no less than that of men is lived largely The life of nations no less than that of men is lived largely in the imagination’. (Enoch Powell, quoted in in the imagination’. (Enoch Powell, quoted in The Future The Future of Multi-Ethnic Britainof Multi-Ethnic Britain, Profile Books 2000)., Profile Books 2000).

Nations as ‘imagined communities’.Nations as ‘imagined communities’. The world has a different view of the British established The world has a different view of the British established

by its Film exports:by its Film exports: What do our films say about us?What do our films say about us?

What do you think this means???What do you think this means???

What is British?What is British?

What does it mean to What does it mean to you?you?

Is this not Is this not British??British??

British CinemaBritish Cinema

How British is it?How British is it? Is it cinema?Is it cinema? ‘‘Commercial’ and ‘cultural’.Commercial’ and ‘cultural’.

The Heritage IndustryThe Heritage Industry

Key texts: Key texts: The Heritage IndustryThe Heritage Industry, Robert , Robert Hewison, Methuen 1987; Hewison, Methuen 1987; On Living in an On Living in an Old CountryOld Country, Patrick Wright, Verso 1985., Patrick Wright, Verso 1985.

Heritage culture ‘imagines’ the community Heritage culture ‘imagines’ the community in a very particular way.in a very particular way.

Closely linked to the Thatcherite project of Closely linked to the Thatcherite project of ‘making Britain great again’ and returning ‘making Britain great again’ and returning to ‘Victorian values’.to ‘Victorian values’.

Heritage CultureHeritage Culture ‘‘One of the most powerful imaginative constructs One of the most powerful imaginative constructs

of our time’ (Raphael Samuel, of our time’ (Raphael Samuel, PatriotismPatriotism, , Routledge 1989).Routledge 1989).

Backward-looking, nostalgic.Backward-looking, nostalgic. Rural.Rural. WhiteWhite Focussed on the upper classes.Focussed on the upper classes. English, and frequently southern.English, and frequently southern. A laundered, sanitised past.A laundered, sanitised past. ‘‘The glamour of backwardness’ (Tom Nairn, The glamour of backwardness’ (Tom Nairn, The The

Enchanted GlassEnchanted Glass, Vintage 1994)., Vintage 1994).

Heritage CultureHeritage Culture

Heritage representations ‘function as lures Heritage representations ‘function as lures which oppose their brilliance to the more which oppose their brilliance to the more tawdry and divided experience of tawdry and divided experience of contemporary Britain’ (Patrick Wright).contemporary Britain’ (Patrick Wright).

‘‘National Heritage is the backward glance National Heritage is the backward glance taken from the edge of a vividly imagined taken from the edge of a vividly imagined abyss’ (Patrick Wright). abyss’ (Patrick Wright).

Heritage CultureHeritage Culture ‘‘Not since the 1890s or the 1930s has the worship Not since the 1890s or the 1930s has the worship

of wistfulness been so widespread. And there in of wistfulness been so widespread. And there in part lies the explanation; then, as now, depression part lies the explanation; then, as now, depression is the begetter of nostalgia’ (David Cannadine, is the begetter of nostalgia’ (David Cannadine, quoted in Raphael Samuel, quoted in Raphael Samuel, Theatres of MemoryTheatres of Memory, , Verso 1994).Verso 1994).

‘‘One of the marks of the feudal One of the marks of the feudal ancien regimeancien regime was was that the dead governed the living. A mark of a that the dead governed the living. A mark of a decrepit political system must surely be that a decrepit political system must surely be that a fictitious past of theme parks and costume dramas fictitious past of theme parks and costume dramas governs the present’ (Neal Ascherson, quoted in governs the present’ (Neal Ascherson, quoted in ibid).ibid).

Heritage Cinema and TelevisionHeritage Cinema and Television

Chariots of Fire Chariots of Fire (1981)(1981) The work of James Ivory and Ismail The work of James Ivory and Ismail

MerchantMerchant ((Howards End Howards End (1992), (1992), Room Room With a View With a View (1986)(1986) etc.)etc.)

Brideshead Revisited Brideshead Revisited (1981,Granada (1981,Granada Television).Television).

Heritage Cinema and TelevisionHeritage Cinema and Television

Continuing the tradition of the historical film, the Continuing the tradition of the historical film, the costume drama and the tv ‘classic serial’.costume drama and the tv ‘classic serial’.

Connotations of ‘quality’ and ‘high’ culture.Connotations of ‘quality’ and ‘high’ culture. A country house version of EnglishnessA country house version of Englishness Loving re-creation of period details.Loving re-creation of period details. ‘‘The past is delivered as a museum of sounds and The past is delivered as a museum of sounds and

images’ (Andrew Higson in images’ (Andrew Higson in British Cinema and British Cinema and ThatcherismThatcherism, Lester Friedman (ed.), UCL Press , Lester Friedman (ed.), UCL Press 1993).1993).

Heritage Cinema and TelevisionHeritage Cinema and Television Settings play as great a role as character and action.Settings play as great a role as character and action. The visuals are frequently seductive and self-consciously The visuals are frequently seductive and self-consciously

‘aesthetic’.‘aesthetic’. Narrative is transformed into spectacle, which becomes an Narrative is transformed into spectacle, which becomes an

end in itself.end in itself. ‘‘Like a lovely day out in some National Trust property’ Like a lovely day out in some National Trust property’

((Sunday Telegraph Sunday Telegraph review of review of Pride and PrejudicePride and Prejudice (1995)). (1995)). ‘‘All the classic ingredients are here; the exquisite period All the classic ingredients are here; the exquisite period

settings, breathtaking photography and a superb cast’ settings, breathtaking photography and a superb cast’ (video cover of (video cover of Maurice Maurice (1987)). (1987)).

Post-Heritage Historical CinemaPost-Heritage Historical CinemaHistorical cinema was ‘sexed’ up and re-Historical cinema was ‘sexed’ up and re-

branded as part of the Cool Brittannia wave branded as part of the Cool Brittannia wave of the mid to late 90s:of the mid to late 90s:

Braveheart Braveheart (1995).(1995). The Madness of King GeorgeThe Madness of King George (1997). (1997). Elizabeth Elizabeth (1998).(1998). Shakespeare in Love Shakespeare in Love (1999).(1999).

‘‘Re-branding’ BritainRe-branding’ Britain

‘‘We must not define ourselves solely in We must not define ourselves solely in terms of the past, or tradition, or what we terms of the past, or tradition, or what we have inherited. Culture and personal and have inherited. Culture and personal and national identity are every bit as much – if national identity are every bit as much – if not more – about the future as they are not more – about the future as they are about the past’about the past’

(Chris Smith, former Culture Minister, (Chris Smith, former Culture Minister, Creative BritainCreative Britain, , Faber 1998).Faber 1998).

‘‘Re-branding’ BritainRe-branding’ Britain

‘‘When we try to understand how our When we try to understand how our national culture and sense of identity national culture and sense of identity intertwine, let us remember first and intertwine, let us remember first and foremost that diversity is one of the key foremost that diversity is one of the key ingredients of both that culture and that ingredients of both that culture and that identity’ (Smith).identity’ (Smith).

Young PeopleYoung People

TrainspottingTrainspotting (1996). (1996). Twin Town Twin Town (1996)(1996) Human TrafficHuman Traffic (1999). (1999). These films also represent aspects of These films also represent aspects of

Britishness other than Englishness.Britishness other than Englishness.

The ‘Underclass’The ‘Underclass’

The work of Ken Loach and Mike Leigh.The work of Ken Loach and Mike Leigh. Brassed Off Brassed Off (1996).(1996). The Full MontyThe Full Monty (1997). (1997). Nil by Mouth Nil by Mouth (1997).(1997).

Ethnic CommunitiesEthnic Communities

Most modern cultures consist of a number of Most modern cultures consist of a number of different and distinct cultures and stories.different and distinct cultures and stories.

It has been suggested (in the report It has been suggested (in the report The Future of The Future of Multi-Ethnic BritainMulti-Ethnic Britain) that Britain is best regarded ) that Britain is best regarded as a ‘community of communities’.as a ‘community of communities’.

Multi-culturalism and the legacy of 9/11.Multi-culturalism and the legacy of 9/11. Cinema’s and television’s generally liberal stance Cinema’s and television’s generally liberal stance

on ethnicity contrasts strikingly with the illiberal on ethnicity contrasts strikingly with the illiberal views expressed by much of the press on this views expressed by much of the press on this issue.issue.

Cool BritanniaCool BritanniaWith the arrival of New Labour in Britain there was an With the arrival of New Labour in Britain there was an upswing in re-branding Britain as a ‘cool’ place to be – upswing in re-branding Britain as a ‘cool’ place to be – reflected in its culture (music and art as well as film) – this led reflected in its culture (music and art as well as film) – this led to films which moved away from the more gritty traditional to films which moved away from the more gritty traditional Brit Film and followed the more American-friendly path of Brit Film and followed the more American-friendly path of Four Weddings & a Funeral. Four Weddings & a Funeral. Such projects led to further Such projects led to further professional interest in British film and more financial professional interest in British film and more financial investment from both local and international sources.investment from both local and international sources.

Ethnic CommunitiesEthnic Communities

My Beautiful Laundrette My Beautiful Laundrette (1985).(1985). My Son the FanaticMy Son the Fanatic (1997) (1997) East is EastEast is East (1999). (1999). The work of Gurinder Chadha.The work of Gurinder Chadha. Yasmin Yasmin (2004). (2004).

British Cinema TodayBritish Cinema Today Hollywood films account for over 70% of British box-office Hollywood films account for over 70% of British box-office

takings.takings.

The most commercially successful British films of the last 15 years The most commercially successful British films of the last 15 years - - Four Weddings and a Funeral, Trainspotting, The Full Monty, Four Weddings and a Funeral, Trainspotting, The Full Monty, Lock, Stock and Two Smoking Barrels, Notting Hill, Billy Elliot, Lock, Stock and Two Smoking Barrels, Notting Hill, Billy Elliot, Bridget Jones DiaryBridget Jones Diary - have either received funding and/ or - have either received funding and/ or distribution from US companies.distribution from US companies.

Working Title films are distributed by Universal.Working Title films are distributed by Universal.

British studios (Pinewood, Shepperton, Leavesdon) frequently British studios (Pinewood, Shepperton, Leavesdon) frequently provide facilities and personnel for Hollywood films (e.g. provide facilities and personnel for Hollywood films (e.g. Gladiator,Gladiator, Tomb Raider).Tomb Raider).

The UK Film CouncilThe UK Film Council

http://http://www.ukfilmcouncil.org.ukwww.ukfilmcouncil.org.uk//

The The UK Film CouncilUK Film Council ( (UKFCUKFC) was set up in 2000 by the ) was set up in 2000 by the Labour Government as a Non departmental body to develop Labour Government as a Non departmental body to develop and promote the film industry in the UK. It is constituted as a and promote the film industry in the UK. It is constituted as a private company limited by guarantee governed by a board of private company limited by guarantee governed by a board of 15 directors and is funded through sources including the 15 directors and is funded through sources including the LottoLotto. .

In its own words, the aim of UKFC is:In its own words, the aim of UKFC is:To stimulate a competitive, successful and vibrant UK film To stimulate a competitive, successful and vibrant UK film industry and culture, and to promote the widest possible industry and culture, and to promote the widest possible enjoyment and understanding of cinema throughout the nations enjoyment and understanding of cinema throughout the nations and regions of the UK.and regions of the UK.UKFC has a mandate that spans cultural, social and economic UKFC has a mandate that spans cultural, social and economic priorities.priorities.