Come to Daddy? Claiming Chris Cunningham for British Art Cinema

Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism

'It's a film' : medium specificity as textual gesture in Red road and The unloved

British cinema has long been intertwined with television. The buzzwords of the transition to digital media, 'convergence' and 'multi-platform delivery', have particular histories in the British context which can be grasped only through an understanding of the cultural, historical and institutional peculiarities of the British film and television industries. Central to this understanding must be two comparisons: first, the relative stability of television in the duopoly period (at its core, the licence-funded BBC) in contrast to the repeated boom and bust of the many different financial/industrial combinations which have comprised the film industry; and second, the cultural and historical connotations of 'film' and 'television'. All readers of this journal will be familiar – possibly over-familiar – with the notion that 'British cinema is alive and well and living on television'. At the end of the first decade of the twenty-first century, when 'the end of medium specificity' is much trumpeted, it might be useful to return to the historical imbrication of British film and television, to explore both the possibility that medium specificity may be more nationally specific than much contemporary theorisation suggests, and to consider some of the relationships between film and television manifest at a textual level in two recent films, Red Road (2006) and The Unloved (2009)

Working Title Films and Universal : The Integration of a British Production Company into a Hollywood Studio

Working Title Films is arguably the most successful and well-known production company in Britain today. For over 30 years, it has produced a diverse range of critically and commercially successful British films including romantic comedies such as Four Weddings and a Funeral (1994) and Bridget Jones’s Diary (2001), family films like Bean (1997) and Nanny McPhee (2005) and dramas including Atonement (2007) and The Theory of Everything (2014). For the majority of its history, however, Working Title has been defined in business terms by its status as a subsidiary of one of two multinational media conglomerates, PolyGram (1992–8) and Universal (1998–present). The transition between the two began when PolyGram, and its film studio, PolyGram Filmed Entertainment (PFE), was sold to Seagram, the parent company of Universal. This article examines Working Title’s integration into Universal and the evolving media ecology which shaped the processes of development, green-lighting, production, marketing and distribution at play within and between both companies between 1998 and 2006. In these respects, Working Title’s transition between parent companies is a narrative of both continuity and change. Significantly, three key stages of gatekeeping remained common to both the PFE and Universal eras: development, green-lighting and distribution. The institutional perimeters within which these points of decision-making occurred, however, changed considerably. The article concludes by considering the impact of such structures and processes on the films which Working Title produced, particularly their various representations of Britain and ‘Britishness’

A topography of the British social realist film : troublesome bodies and gendered spaces from the new wave to the present

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