Browsing by Author "Chibnall, S."
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Item Metadata only 'Above and Beyond Everyday Life': the rise and fall of Rank's contract artists of the 1950s(Routledge, 2017-02) Chibnall, S.This article deals with the way in which Britain's largest film studio used the artists' contract system during the 1950s. It examines how film stars were trained and promoted and explains the decline of both Rank as a production company and its roster of contacted artists at the end of the decade.Item Metadata only Item Open Access Banging the Gong: The Promotional Strategies of Britain’s J. Arthur Rank Organisation in the 1950s(Taylor and Francis, 2016-06-03) Chibnall, S.This article addresses the neglect in academic studies of film culture of the publicist’s role, particularly in British film production and distribution. Taking the last decade of the British studio system(the 1950s) and the leading British studio (Rank) as its timeframe and focus, the article begins to answer questions such as, ‘who were the publicists and how were publicity divisions organised and directed?’;‘what were the main elements of the publicist’s role?’; ‘how were these used in film promotion?’; ‘how was this process influenced by shifts in the wider mission of the film production company?’; ‘what was the relationship between publicists and contract artists?’; and ‘how was pictorial publicity created and used as a promotional tool in this period?’. After reviewing contemporary debates about publicity strategies and the importance of star creation, the article identifies leading practitioners and then discusses their relationship to the newspaper press before offering a job description for the film publicist and the significance of women in the profession. The second section considers the interactions between publicists, contract artists and studio managers, noting the importance of personal appearances by stars and their frequent frustrations with the way they were treated and used by the Rank Organisation. The third section deals with Rank’s mid-decade shift towards markets in continental Europe as British exhibition revenues declined, and the impact this had on promotional practices, particularly with the growing importance of overseas film festivals. The fourth section focuses on the production of pictorial publicity, considering in some detail the roles played by the studio photographer, Cornel Lucas, and the Italian poster artists who were used to give a contemporary and continental gloss to Rank’s products. The final section briefly describes and accounts for the decline of Rank as a film production company and the consequence of this for its promotional activities.Item Metadata only Brighton Rock(I.B.Tauris, 2004) Chibnall, S.Item Metadata only Britain's funk soul brothers: gender, family and nation in the new Brit-pics(USA : Cineaste Publishers Inc, 2001) Chibnall, S.Item Metadata only The British Film Poster(British Film Institute, 2006) Chibnall, S.; Branaghan, SimItem Metadata only British horror cinema(Routledge, 2001-11-15) Chibnall, S.; Petley, J.Item Metadata only The British ‘B’ Film(British Film Institute, 2009) Chibnall, S.; McFarlane, BrianItem Metadata only Carter in context(Open University Press, 2008) Chibnall, S.Item Metadata only Encyclopedia entry: Peter Walker(Wallflower Press, 2001-12-06) Chibnall, S.Item Metadata only The Film-maker at the Gates of Dawn: Peter Whitehead, Pink Floyd and my summer of love(Wissenscaftlicher Verlag, 2008) Chibnall, S.Item Metadata only Fleapits and Picture Palaces(2015) Jones, Matthew; Chibnall, S.; Porter, LaraineThis 25-minute documentary, produced collaborative by members of the Cinema and Television History (CATH) Research Centre, explores the history of cinema-going in Leicester and its surrounding area. Connecting trends in local cinema culture with the broader national picture, it locates archival images and clips within the history of the rise, decline and resurgence of cinema-going as a popular activity. The film was screened several times at the Phoenix cinema in Leicester during 2015 and 2016, and has become a cornerstone of the Leicester Cinema History exhibition at DMU's Heritage Centre.Item Metadata only From The Snake Pit to The Garden of Eden: A time of temptation for the Board(British Film Institute, 2012) Chibnall, S.Item Metadata only Get Carter(I.B.Tauris, 2003) Chibnall, S.Item Metadata only Hammer's Monsters: A Screen Bestiary(n/a, 2016-10) Jones, Matthew; Chibnall, S.This public exhibition, housed in the DMU Heritage Centre, ran from October 2016 to October 2017. It displayed materials from the Hammer Script Archive held by the Cinema and Television History (CATH) Research Centre at DMU and provided a critical and historical commentary on these materials. Locating the archival objects and images within the industrial and creative history of the iconic Hammer Film Productions, the exhibition invited the public to reflect on the place of this studio within the broader development of British horror cinema.Item Embargo Hollywood-on-Thames: The British productions of Warner Bros. – First National, 1931-1945(Taylor and Francis, 2019-05-28) Chibnall, S.A few years after Warner Bros pioneered sound cinema, the company established a production base at Teddington in England to enable it, in the face of protectionist legislation, to maintain distribution in its most lucrative foreign market. The records of that operation have remained largely unexplored since the end of World War Two. This article uses them, in conjunction with contemporary reports in the trade press, to explore these first steps in the globalization of Hollywood production. It highlights cultural differences and policy clashes, often through the lens of the correspondence between Burbank Studio Head, Jack Warner, and the executive put in charge of the Teddington studios, Irving Asher. This correspondence proves vital to understanding the competing corporate visions of American overseas production in the 1930s, and its analysis ultimately demonstrates that business in Hollywood, far from dispassionate, is actually a highly personal affair. The article also pays particular attention to the economics of the British operation and, for the first time, reveals financial data relating to production costs and rental receipts from the Teddington ledger. Only when Britain and the USA finally became allies in the fight against Nazi Germany did Warner Bros make a total commitment to its English studio, which momentarily enjoyed financial success until a Nazi rocket put paid to its productions for the duration of the war.Item Metadata only If You Build It, She Will Come: An Appreciation of Baz Luhrmann’s The Great Gatsby (2013)(Oxford Journals, 2014-04-18) Chibnall, S.Item Metadata only Introduction to, and public screening of, Peter Whitehead's film 'Tonite Let's All Make Love in London' (1967)(2017-03-03) Chibnall, S.To mark its 50th anniversary, Whitehead's critical portrait of 'swinging' London was introduced and screened to an audience of 75 (approx.) at the Phoenix Cinema in Leicester as part of its advertised public programme. Chibnall also supplied the projected materials and co-hosted a Q&A with Jenny Spires, who was influential in the making of the filmItem Metadata only Law and order news: an analysis of crime reporting in the British press(Routledge, 2001-09-27) Chibnall, S.Item Metadata only Leicester Cinema History(2017-02) Jones, Matthew; Chibnall, S.; Ercole, Pierluigi; Porter, Laraine; Hanson, Stuart; Acciari, MoniaThis public exhibition, housed in the DMU Heritage Centre, ran from February to May 2017. It charted the development, decline and resurgence of Leicester's cinema culture through a large map displaying the cinemas within the city and panels dedicated to the various types of cinemas that have operated in the surrounding area. Produced collaboratively by members of the Cinema and Television History (CATH) Research Centre, the exhibition also featured objects and historical artefacts drawn from the Steve Chibnall Collection that highlighted the material cultures of film exhibition and consumption.