Titlebook: Creativity And Constraint In The British Film Industry; Duncan J. Petrie Book 1991 Palgrave Macmillan, a division of Macmillan Publishers

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Creativity and Cinema,terms of a conscious communication; a statement directly attributable to the film-maker concerned. The general thrust in film studies has been to move away from the notion of the film-maker as an author standing behind the film, and towards the idea of cinema as a process of spectating in which the

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The Question of Cinema Technology,ust consider those elements which set its parameters, which effectively constitute the ‘space’ within which it occurs. There are two major examples of a tangible material resource necessary for film-making: finance and technology. Films cost money, often quite substantial amounts of money to develop

Restenosis

The Financing and Production of British Films: Historical Background,s currently active in British cinema, one overriding fact must not be overlooked. The financial structure of British filmmaking is inherently unstable and the amount of production finance made available to film-makers in this country in any one year is pitifully meagre given the popularity of film a

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The Film-Making Process: Sales, Distribution and Marketing,to certain ‘facts of life’ which are primarily economic in nature. First of all, film production is an extremely expensive process: the average cost of a typical ‘low-budget’ British independent feature with domestic locations, no international stars or expensive post-production techniques, films li

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Genre, Aesthetics and Criticism,tural factors which are less tangible than issues of finance and technology but are just as significant nonetheless. The aesthetic domain embraces those resources constituted by the techniques of cinema — modes of narration, ., montage and so on — which any film-maker can draw upon in the course of

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Creative Collaboration and the Production Process,interpersonal relationships within the process of film-making itself. As I indicated in Chapter 1, Coates asserts the existence of a necessary conflict between a film director’s individuality on one hand and ‘opposing material’, including key collaborators, on the other.. Film-makers require this co

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Creativity And Constraint In The British Film Industry