Titlebook: EMI Films and the Limits of British Cinema; Paul Moody Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Transnational cinema

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咽下

Isolate

Book 2018rom 1969 to its eventual demise in 1986, EMI would produce many of the key works of seventies and eighties British cinema, ranging from popular family dramas like .The Railway Children. (Lionel Jeffries, 1970) through to critically acclaimed arthouse successes like .Britannia Hospital. (Lindsay Ande

Preserve

Elstree Falling,almost stopped the screening of a film Forbes directed, . during the same period. Forbes’ tenure was nearing its end, and this chapter concludes with the forced merger with MGM, which was to mark the start of EMI shifting its production policy away from Forbes’ initial vision.

VERT

The Likely Lad,riod, both of which are analysed here: the thriller films . and ., and a series of music-themed vehicles for leading 1970s pop stars Roy Harper, Cliff Richard, and David Essex, whose . is presented as a pivotal film in EMI’s history, which was a catalyst to its eventual shift into transnational production.

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手铐

https://doi.org/10.1007/978-3-658-35399-5ure as a transnational company. This chapter concludes with the broader question ‘where does “national” cinema end and “transnational” cinema begin?’, and therefore ‘what are the limits of British cinema’?

Commemorate

https://doi.org/10.1007/978-81-322-1976-7h Edward Heath. Using archival documents from Bryan Forbes’ private papers, the chapter places the productions within the context of the industrial issues at EMI’s Elstree Studios base and analyses the issues which would ultimately lead to Forbes’ downfall.

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MILL

to reclaim EMI as part of a British filmmaking tradition. Ultimately, the history of EMI Films demonstrates that the limits of British cinema are more flexible and permeable than previous authors have suggested.