British Cinema: The Whole Story

What is the course about?

The course will chart, chronologically, the history of British Cinema from its origins up to the present day. Along the way we will look at the shifting context for film production in Britain and consider the socio-political background to some of the best-known films from each decade. We will explore the careers of many of the great names of British filmmaking and consider their contributions to filmmaking both in Britain and beyond.

What will we cover?

The oldest surviving film was shot in the UK in 1888. Later, this silent era produced Piccadilly (1928 E.A. Dupont) and Blackmail (1929). Britain had pioneered cinema but soon Hollywood dominated—until ‘the golden age’ arrived. British film production reached an all-time high in 1936, which led to a ‘golden era’ in the 1940s. The war years (1939—45) inspired a period when Britain broke free from Hollywood and discovered its own identity, narrative, genre and its own group of great directors—who emerged firing on all cylinders: Carol Reed, Michael Powell, David Lean. After the doldrum of the 1950s, a new generation emerged in the Sixties: Tony Richardson, Karel Reisz, Richard Lester, followed by Ken Loach and Mike Leigh. Where do mavericks like Ken Russell and Nicholas Roeg fit in (or not)? Lindsay Anderson, who perfectly caught 60s rebellion in If… (1968), was part of the pioneering 70s style with O Lucky Man! (1973). The 70's was a decade of bold (often strange) filmmaking, set against a backdrop of a collapsing British film industry. These conditions allowed the personal cinema of Bill Douglas, Bill Forsyth, Peter Greenaway, and Terence Davies to flourish. The 80s began with The Long Good Friday (1980 McKenzie), then Stephen Frears’ My Beautiful Laundrette (1985) ) and Neil Jordan’s Mona Lisa (1986) and The Crying Game (1992). The 90s was all Trainspotting (1996 Boyle)—Britain’s answer to Tarantino; and ended with the Tarantino-ish Lock, Stock and 2 Smoking Barrels (2000 Ritchie).
The 2000s supported a new social realism, a poetics of marginality with the emergence of many female directors: Lynne Ramsey (Ratcatcher, 1999), Andrea Arnold (Fish Tank 2009), Clio Barnard (Selfish Giant 2013) and Joanna Hogg (Souvenir 2019/21). Christopher Nolan visualised memory, from Memento (2000) to Tenet (2020). Bond was broken post-Skyfall (2012 Sam Mendes). Steve McQueen brought art films into the mainstream with 12 Years a Slave (2013) and Blitz (2024).

What will I achieve?
By the end of this course you should be able to...

- Demonstrate familiarity with the history of British cinema
- Display knowledge of some of the key British filmmakers of last 100 years or so
- Exhibit knowledge of the production contexts for some of Britain’s greatest films.

What level is the course and do I need any particular skills?

This course is suitable for beginners, intermediate and advanced learners. No previous study is necessary but all levels will increase their knowledge and critical ability.

How will I be taught, and will there be any work outside the class?

Opening lecture, proper big screen screenings of film clips, sequences and re-mixes that stimulate group discussion and debate.

Are there any other costs? Is there anything I need to bring?

No other costs. Tutor will screen extracts of films or supply links to online viewing. Bring notepad or tablet.

When I've finished, what course can I do next?

For other Film Studies courses look under History, Culture and Writing/Film Studies at www.citylit.ac.uk.