British TV and Film Culture in the 1950s: Coming to a TV by Su Holmes

By Su Holmes

This e-book makes a speciality of the rising old family among British tv and picture tradition within the Fifties. Drawing upon archival examine, it does this by means of exploring the advance of the early cinema programme on tv - mostly present liberate (BBC, 1952-3), photograph Parade (BBC, 1956) and movie Fanfare (ABC, 1956-7) - and argues that it was once those texts which performed the valuable position within the constructing relatives among the media. relatively by way of Britain, the early co-existence of tv and cinema has been obvious as opposed and adverse, yet in situating those programmes in the contexts in their institutional construction, aesthetic building and reception, the booklet goals to ‘reconstruct’ television’s assurance 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 varieties, yet crucially as websites of reveal leisure - successfully got here jointly at present in the sort of method that's certain to this decade.

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5. 40. qrk 6. 8. 7. 28. 8. 2. 1. qrk 25/2/05 10:55 am Page 41 Chapter Two The Cinema Programme Begins: Developing Film ‘Specially For Television Purposes and Technique’ This chapter traces the development of the televised cinema programme from its status as a concept in the late 1930s, to just before its appearance on air in 1952. While the televised cinema programme did not actually come to fruition in the 1930s, this period is revealing in suggesting how the ‘idea’ of the genre developed, and the institutional, economic and technological factors which shaped this process.

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).

Many of these pursuits, rather than contributing to an increased emphasis on the domestic sphere, in fact took people away from the home (see Hopkins, 1963), not least of all because of the gradual increase in car ownership. 8 The cinema programme is clear evidence (and was part) of the extent to which the cinema’s identity as a popular mass entertainment continued well into the 1950s. Nevertheless, this is a period in which the cinema clearly begins to loose its wider appeal - in which context its cultural associations, experience as a form of public space, and role in everyday life, begins to change (Geraghty, 2000a).

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