Pam Cook is Professor Emerita in Film at the University of Southampton, UK. She is the editor of The Cinema Book (3rd Edition, 2007) and Gainsborough Pictures (BFI, 1997), and the author of Fashioning the Nation: Costume and Identity in British Cinema (1996), the BFI Film Classic on I Know Where I'm Going! (2002), Screening the Past: Memory and Nostalgia in Cinema (2005), and Baz Luhrmann in the BFI World Directors series (2010). Author affiliation details are correct at time of print publication.
...The British critical context: Movie magazine
The British authorship debate, as it emerged in the magazine Movie in the 1960s, was formulated rather differently because of historical factors specific to British culture. British critical...
Amy Sargeant is Reader in Film at the University of Warwick, UK. Her publications include British Cinema, British Historical Cinema and Adventures in Motion Pictures. Author affiliation details are correct at time of print publication.
...Charlotte Rampling as Iron Lady in David Hare’s 1988 Paris by Night
The 1980s were self-consciously preoccupied with literary and visual style and presentation across a range of contemporary cultural and political activity...
...The careers of British editors can be related, in general terms, to the distinction between artists and craftspersons, and to issues of class, education and gender. These provide a broad context for the diverse backgrounds, achievements...
Tino Balio is Emeritus Professor of Communication Arts at the University of Wisconsin-Madison.The 2001 recipient of the inaugural Academy Film Scholar Grant from the Academy of Motion Picture Arts and Sciences, Balio has written widely on the historical development of Hollywoodand the American film industry. He is the author of a two-volume history of United Artists, Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939 (1996), and The Foreign Film Renaissance on American Screens, 1946–1973 (2010). Author affiliation details are correct at time of print publication.
...The CEOs of the media companies are clear and unequivocal about what they want from their movie studios – more and bigger franchises that are instantly recognisable and exploitable across all platforms and all divisions of the company...
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