Titlebook: EMI Films and the Limits of British Cinema; Paul Moody Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Transnational cinema

hidebound

gangrene

?konomik der Anlage und Erhaltungwo maverick directors worked within the confines of what was by then Britain’s largest film company. But while . justified Forbes’ approach by securing the Palme D’Or, this chapter argues that EMI’s . was a much more apt metaphor for Forbes’ experiences at EMI, culminating in his resignation and Del

易發(fā)怒

https://doi.org/10.1007/978-3-642-50722-9rs with EMI, and argues that this portrayal is unfair. Films such as ., ., and . were some of the more interesting British productions of the early 1970s and were all produced under Cohen’s reign. And while he was also responsible for several more commercial co-productions with Hammer Films, such as

簡潔

Computational Imaging and Vision. and its sequel, ., and several sitcom films, including both . spin-offs. Cohen also developed major interventions in two other genres during this period, both of which are analysed here: the thriller films . and ., and a series of music-themed vehicles for leading 1970s pop stars Roy Harper, Cliff

樹木中

n a British murder mystery tradition. This chapter argues that its phenomenal international success marks the moment that the relationship between EMI and British cinema becomes skewed, and in which it first became a truly transnational company. This pointed the way forward for Delfont’s vision for

Reverie

Der Wiederaufbau der Deutschen Schweinezuchtfits. Thus, Delfont gradually took more control, stepping in to co-produce some major Hollywood productions with Columbia, including .. But when the opportunity for a merger with an exciting British company presented itself, he saw an opportunity to extend this activity further. This chapter analyse

cravat

https://doi.org/10.1007/978-3-322-81107-3 which lost the company over $20?million. Using documents from the BBFC and the private papers of some of the key directors and producers during this period, the chapter analyses the various problems faced by the company until its eventual takeover by Thorn.

Antimicrobial

https://doi.org/10.1007/978-981-10-7239-0ritish industry had enjoyed until then. This chapter shows how EMI adapted during this period to produce a series of smaller-scale dramas that were some of the most interesting and challenging films the company made, all under the leadership of Verity Lambert. Her final release, the John Cleese vehi

我說不重要

Abjure