By Su Holmes
This publication makes a speciality of the rising ancient kinfolk among British tv and movie tradition within the Fifties. Drawing upon archival examine, it does this by way of exploring the improvement of the early cinema programme on tv - mostly present free up (BBC, 1952-3), photo Parade (BBC, 1956) and movie Fanfare (ABC, 1956-7) - and argues that it used to be those texts which performed the significant function within the constructing family among the media. rather by way of Britain, the early co-existence of tv and cinema has been visible as opposed and hostile, yet in situating those programmes in the contexts in their institutional construction, aesthetic building and reception, the ebook goals to ‘reconstruct’ television’s assurance 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 varieties, yet crucially as websites of reveal leisure - successfully got here jointly at the present in the sort of approach that's specific to this decade.
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Extra info for British TV and Film Culture in the 1950s: Coming to a TV Near You
Although the BBC television service resumed in 1946, it did not immediately return with the popular coverage of the cinema it had been so keen to put on air. 46 British TV and Film Culture in the 1950s Planning Current Release When the television service began broadcasting again after the war its expansion was slow. 32-3). These factors contributed to the slow spread of television ownership and in the late 1940s, the medium was still something of a luxury. It is widely recognised that it was also the institutional dynamics of the BBC which hampered the expansion of the medium, as it was forced to play a subservient role to radio for several years.
A survey of the Radio and TV Times indicates how it is not until the period from 1957 to ‘58 that there emerges a shift in the screening of feature films on British television. The ITV contractor ATV acquired an extensive library of British films (1939-46) from the independent film company British National, which were gradually moved to a fortnightly slot on Sunday evenings (10:05pm) and notably identified as the ‘ATV Late-night Movie’. A further shift occurred in September 1957 when, following the death of Alexander Korda, 25 of his films passed to ITV (such as The Private Life of Henry 8th (1933) and Catherine the Great (1934)).
29 At this stage it seemed that the investments and aims of the two parties were not only opposed, but apparently irreconcilable. Television has always faced considerable restrictions where the subject of film criticism is concerned, so these discussions mark a crucial point in the development of the genre. In discussing his experience of producing Moving Pictures in the years 1990 to ‘93, Paul Kerr argues that: TV ought to be the ideal medium for discussing cinema for the simple reason that one can ‘quote’ rather than, as in the case with the print medium, being obliged to summarise the scenes or sequences being discussed...