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British comedy cinema has been a mainstay of domestic production
since the beginning of the last Century and arguably the most
popular and important genre in British film history. This edited
volume will offer the first comprehensive account of the rich and
popular history of British comedy cinema from silent slapstick and
satire to contemporary romantic comedy. Using a loosely
chronological approach, essays cover successive decades of the 20th
and 21st Century with a combination of case studies on key
personalities, production cycles and studio output along with fresh
approaches to issues of class and gender representation. It will
present new research on familiar comedy cycles such as the Ealing
Comedies and Carry On films as well as the largely undocumented
silent period along with the rise of television spin offs from the
1970s and the development of animated comedy from 1915 to the
present. Films covered include: St Trinians, A Fish Called Wanda,
Brassed Off, Local Hero, The Full Monty, Four Lions and In the
Loop. Contributors: Melanie Bell, Alan Burton, James Chapman,
Richard Dacre, Ian Hunter, James Leggott, Sharon Lockyer, Andy
Medhurst, Lawrence Napper, Tim O'Sullivan, Laraine Porter, Justin
Smith, Sarah Street, Peter Waymark, Paul Wells
Over 39 chapters The Routledge Companion to British Cinema History
offers a comprehensive and revisionist overview of British cinema
as, on the one hand, a commercial entertainment industry and, on
the other, a series of institutions centred on economics, funding
and relations to government. Whereas most histories of British
cinema focus on directors, stars, genres and themes, this Companion
explores the forces enabling and constraining the films'
production, distribution, exhibition, and reception contexts from
the late nineteenth century to the present day. The contributors
provide a wealth of empirical and archive-based scholarship that
draws on insider perspectives of key film institutions and
illuminates aspects of British film culture that have been
neglected or marginalized, such as the watch committee system, the
Eady Levy, the rise of the multiplex and film festivals. It also
places emphasis on areas where scholarship has either been
especially productive and influential, such as in early and silent
cinema, or promoted new approaches, such as audience and memory
studies.
British comedy cinema has been a mainstay of domestic production
since the beginning of the last Century and arguably the most
popular and important genre in British film history. This edited
volume will offer the first comprehensive account of the rich and
popular history of British comedy cinema from silent slapstick and
satire to contemporary romantic comedy. Using a loosely
chronological approach, essays cover successive decades of the 20th
and 21st Century with a combination of case studies on key
personalities, production cycles and studio output along with fresh
approaches to issues of class and gender representation. It will
present new research on familiar comedy cycles such as the Ealing
Comedies and Carry On films as well as the largely undocumented
silent period along with the rise of television spin offs from the
1970s and the development of animated comedy from 1915 to the
present. Films covered include: St Trinians, A Fish Called Wanda,
Brassed Off, Local Hero, The Full Monty, Four Lions and In the
Loop. Contributors: Melanie Bell, Alan Burton, James Chapman,
Richard Dacre, Ian Hunter, James Leggott, Sharon Lockyer, Andy
Medhurst, Lawrence Napper, Tim O'Sullivan, Laraine Porter, Justin
Smith, Sarah Street, Peter Waymark, Paul Wells
Over 39 chapters The Routledge Companion to British Cinema History
offers a comprehensive and revisionist overview of British cinema
as, on the one hand, a commercial entertainment industry and, on
the other, a series of institutions centred on economics, funding
and relations to government. Whereas most histories of British
cinema focus on directors, stars, genres and themes, this Companion
explores the forces enabling and constraining the films'
production, distribution, exhibition, and reception contexts from
the late nineteenth century to the present day. The contributors
provide a wealth of empirical and archive-based scholarship that
draws on insider perspectives of key film institutions and
illuminates aspects of British film culture that have been
neglected or marginalized, such as the watch committee system, the
Eady Levy, the rise of the multiplex and film festivals. It also
places emphasis on areas where scholarship has either been
especially productive and influential, such as in early and silent
cinema, or promoted new approaches, such as audience and memory
studies.
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