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The Independent Producer and the State: Simon Relph, Government Policy and the British Film Industry, 1980–2005

Andrew Spicer

Dr Andrew Spicer, Reader in Cultural History at the University of the West of England, UK, has published widely on British cinema, masculinity and film noir, including Typical Men: The Representation of Masculinity in Popular British Cinema (2001/03), Film Noir (2002), Sydney Box (2006), the Historical Dictionary of Film Noir (2010) and, as editor, European Film Noir (2007). He is currently co-editing the Companion to Film Noir (Wiley-Blackwell) and co-authoring The Man Who Got Carter: Michael Klinger, Independent Production and the British Film Industry, 1960-1980 (I.B. Tauris). Author affiliation details are correct at time of print publication.

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Beyond the Bottom Line : The Producer in Film and Television Studies

Bloomsbury Academic, 2014

Book

4

... and an edited version of the extended interview that informs this chapter, see Andrew Spicer, ‘Interview with Simon Relph’, Journal of British Cinema and Television (forthcoming, 2014). My interest is to examine the ways in which successive changes...

Parting the Iron Curtain: Michael Klinger’s attempt to make A Man and a Half

Andrew Spicer

Dr Andrew Spicer, Reader in Cultural History at the University of the West of England, UK, has published widely on British cinema, masculinity and film noir, including Typical Men: The Representation of Masculinity in Popular British Cinema (2001/03), Film Noir (2002), Sydney Box (2006), the Historical Dictionary of Film Noir (2010) and, as editor, European Film Noir (2007). He is currently co-editing the Companion to Film Noir (Wiley-Blackwell) and co-authoring The Man Who Got Carter: Michael Klinger, Independent Production and the British Film Industry, 1960-1980 (I.B. Tauris). Author affiliation details are correct at time of print publication.

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Shadow Cinema : The Historical and Production Contexts of Unmade Films

Bloomsbury Academic, 2020

Book

3

... company, Avton Films, through which he exercised personal control over every aspect of filmmaking, including choice of subject (Spicer and McKenna 2013: 11–70). As he remarked in interview, ‘If you do a film independently, you...

Introduction

Andrew Spicer

,

Dr Andrew Spicer, Reader in Cultural History at the University of the West of England, UK, has published widely on British cinema, masculinity and film noir, including Typical Men: The Representation of Masculinity in Popular British Cinema (2001/03), Film Noir (2002), Sydney Box (2006), the Historical Dictionary of Film Noir (2010) and, as editor, European Film Noir (2007). He is currently co-editing the Companion to Film Noir (Wiley-Blackwell) and co-authoring The Man Who Got Carter: Michael Klinger, Independent Production and the British Film Industry, 1960-1980 (I.B. Tauris). Author affiliation details are correct at time of print publication.

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A.T. McKenna

Dr A.T. McKenna had published extensively on Film Producers, most notably Michael Klinger and Joseph E. Levine. His work has appeared in Historical Journal of Film, Radio and Television, Journal of British Cinema and Television, Journal of Popular Film and Television and SCOPE: An Online Journal of Film Studies. Author affiliation details are correct at time of print publication.

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and

Christopher Meir

Christopher Meir is a UC3M CONEX Fellow in the Department of Journalism and Audiovisual Communication at the University of Carlos III Madrid, Spain. He is the author of Scottish Cinema: Texts and Contexts (2014) and co-editor of Beyond the Bottom Line: The Producer in Film and Television Studies (2014). He has also published numerous articles and book chapters on industrial issues in Film and Television Studies. Author affiliation details are correct at time of print publication.

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Beyond the Bottom Line : The Producer in Film and Television Studies

Bloomsbury Academic, 2014

Book

4

... Klinger, for example, once engaged in a lengthy correspondence to acquire rights to René Magritte’s L’Assassin Menace, so that Mike Hodges could use the image for a fraction of a second in Pulp (1972).See Andrew Spicer and A. T. McKenna, The Man...