By Su Holmes
This publication makes a speciality of the rising historic family among British tv and picture tradition within the Fifties. Drawing upon archival learn, it does this through exploring the improvement of the early cinema programme on tv - mostly present unlock (BBC, 1952-3), photograph Parade (BBC, 1956) and movie Fanfare (ABC, 1956-7) - and argues that it was once those texts which performed the primary position within the constructing family members among the media. quite by way of Britain, the early co-existence of tv and cinema has been noticeable as opposed and adverse, yet in situating those programmes in the contexts in their institutional creation, aesthetic development and reception, the publication goals to ‘reconstruct’ television’s insurance of the cinema as an important to the material of British movie and tv tradition on the time. It demonstrates how the jobs of cinema and tv - as media industries and cultural types, yet crucially as websites of display leisure - successfully got here jointly at present in one of these means that's certain to this decade.
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Additional info for British TV and Film Culture in the 1950s: Coming to a TV Near You
While we can talk of the film industry ‘moving into’ British television at this time, this is in a different way to the US, and with different implications. In terms of contextualising the centrality of the cinema programme in the early relations between British television and film culture, it can certainly be seen that, although the BBC continued to play an equally important role, the introduction of ITV marked the beginning of a period of intense activity where this coverage was concerned. Although the fact that certain film companies had moved into ITV may have increased the scope and energy of the coverage the channel offered to the cinema, it was as much to do with a second channel increasing the opportunity for such programming on a wider scale.
The possibilities of this were further explored in March 1939, when a ‘dramatic sequence’ from Korda’s The Four Feathers (Zoltan Korda, 1939) appeared on Picture Page, and was followed by an interview with its stars, John Clements, Ralph Richardson and June Dupré. The Director of Publicity at London Films described how ‘An informal talk on ... 18 This is not unlike the material which would eventually comprise the cinema programme, and there were already conceptions as to how it could function as television entertainment.
This is particularly so given that the early discussions over the programme set institutional and textual parameters within which the genre would function for many years. Current Release was shaped by the history of the BBC’s institutional relations with film culture while, as a television programme, it simultaneously brought new possibilities, conventions and problems to the fore. The negotiations over the programme were primarily handled by the Better Business Committee which was formed by joint representatives from the CEA (exhibitors) and the KRS (distributors), collectively also referred to as the Film Industry Publicity Circle (FIPC).
British TV and Film Culture in the 1950s: Coming to a TV Near You by Su Holmes