By Sue Harper
During this definitive and long-awaited historical past of Fifties British cinema, Sue Harper and Vincent Porter draw commonly on formerly unknown archive fabric to chart the transforming into rejection of post-war deference via either filmmakers and cinema audiences. Harper and Porter discover the results of social, cultural, and financial switch at the Nineteen Fifties movie in Britain, taking a look specifically on the effect of the increase of tv, successive adjustments in executive coverage, and the cave in of the studio procedure.
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Extra resources for British Cinema of the 1950s: The Decline of Deference
The levy to the Labour Party.
In the former, the hero is an entrepreneur; in the latter, a senior ofﬁcer. A key index of the political change lies in the different manner in which ﬁlm-makers at Ealing and BFM deployed Alec Guinness’s persona and performance style. At Ealing, his bland face and subtle acting skills had been an index of Balcon’s static social consensus. Now at BFM, his very malleability was used to launch the expression of Davis’s more dynamic meritocratic social order. At Ealing, Robert Hamer had used Guinness to portray eight members of the D’Ascoyne family in Kind Hearts and Coronets (1949) to kill off a whole generation of the residual aristocracy.
182 Although the new legislation did not increase the Corporation’s resources, it removed the restriction against lending to a borrower that could obtain ﬁnancial facilities ‘on reasonable terms from an appropriate source’. That is, the Corporation could now lend money to mainstream commercial ﬁlms. 183 It could lend money to any project it chose, and co-ﬁnance them with any distributor, whether they were British or American. But the continuing fall in cinema admissions and in box ofﬁce receipts also meant that far fewer ﬁlms were able to cover their costs or make a reasonable proﬁt.