By Su Holmes
This publication specializes in the rising ancient relatives among British tv and movie tradition within the Fifties. Drawing upon archival study, it does this via exploring the advance of the early cinema programme on tv - largely present unlock (BBC, 1952-3), photo Parade (BBC, 1956) and picture Fanfare (ABC, 1956-7) - and argues that it was once those texts which performed the valuable function within the constructing family among the media. relatively by way of Britain, the early co-existence of tv and cinema has been noticeable as adversarial and adversarial, yet in situating those programmes in the contexts in their institutional construction, aesthetic development and reception, the booklet goals to ‘reconstruct’ television’s insurance of the cinema as an important to the cloth of British movie and tv tradition on the time. It demonstrates how the jobs of cinema and tv - as media industries and cultural kinds, yet crucially as websites of monitor leisure - successfully got here jointly at the moment in this type of method that's particular to this decade.
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Extra resources for British TV and Film Culture in the 1950s: Coming to a TV Near You
As Buscombe observes, it seemed like a strategy which was ‘doomed from the start. 205). 1. Broadcasting It 35 Aside from the institutional disputes and negotiations, this context is also important in considering issues of reception at this time as it emphasises how, for much of the decade, the cinema programme represented the primary experience of ‘film’ on television. It was precisely within the context outlined above, the limits which structured the wider institutional relations between British film culture and television and the relative absence of full-length films, that the cinema programme flourished.
Indeed, as the end of the book makes clear, it is at the very point when the age of feature films on television becomes conventionalised that the cinema programme seems to lose its centrality on a number of different levels. g. g. Geraghty, 2000a), is fairly well documented. 6), and this has continued in subsequent histories of the period, particularly where cinema history is concerned. Given that this statistical evidence is limited in what it can tell us about the changing experience of cinema and television at this time, as well as the relations between the media, it is used sparingly here.
Critical Perspectives on the Cinema Programme Buscombe was considering the programmes at a time when the serious study of television was only just emerging (and even the development of film studies was still in its early stages), and this may have shaped his unwillingness to offer a more sympathetic perspective on the programmes. His perception of the genre is 2. The Cinema Programme Begins 41 Cinema programmes in the 1950s were consistently held in low critical regard, although this is not a perception specific to this period.
British TV and Film Culture in the 1950s: Coming to a TV Near You by Su Holmes