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Jack Clayton’s Room at the Top
B. F. Taylor

was this ‘appearance’ that caused style-based critics such as Perkins to reject the British New Wave (almost) out of hand. From this perspective, the boundaries of Petley’s ‘lost continent’ become further extended. Admittedly, as Peter Hutchings acknowledges elsewhere, there is still ‘unfinished business’ when it comes to discussions of authorship and British cinema. Like him, however, I have no interest in supporting or disproving the auteurist method ‘in general or in its specific application TBNC03 69 15/3/06, 9:59 AM 69 70 The British New Wave to British

in The British New Wave
Hammer Film Studios’ reinvention of horror cinema
Morgan C. O’Brien

horror innovations to exhaustion. In the introduction to his book-length study on British horror cinema, Peter Hutchings quotes from a 1964 British press clipping which sums up Hammer’s lowbrow reputation with the critical press during the studio’s heyday: Certain branches of the British cinema are able to weather any crisis: they do not so much rise above it as sink beneath it, to a subterranean level where the storms over quotas and television competition cannot affect them. This sub

in Adapting Frankenstein
Beaver Films and Allied Film Makers
Sally Dux

embodiment of independent filmmaking by taking on a courageous subject which resulted in a commercial success. Peter Hutchings also observes that ‘with its mainstream director [Green], an-already established male star [Attenborough] and an imported foreign actress in the form of Pier Angeli, it can be seen as a clearer successor to A Room at the Top than any of the New Wave films.’23 Critically the film was also successful. It was the first British entry at the Berlin Film Festival, where it won the International Film Critics award and also the prize awarded by the

in Richard Attenborough
Abstract only
Sian Barber

Spicer’s work on masculinity (Typical Men), James Chapman on history (Past and Present), Leon Hunt on low-brow (British Low Culture), Peter Hutchings on horror cinema (Hammer and Beyond), John Hill on the British new wave (Sex, Class and Realism), Claire Monk and Amy Sargeant on heritage (British Historical Cinema), Steve Chibnall and Robert Murphy on crime cinema (British Crime Cinema) and Andrew Higson on national identity (Film England).13 Also useful could be Charles Barr’s account of Ealing Studios (Ealing Studios), Sue Harper writing on women in the film industry

in Using film as a source
Ian Mackillop
and
Neil Sinyard

attention to such problems. Although not intended as a comprehensive survey of the decade (film historians such as David Pirie and Peter Hutchings, for example, have dealt with the 1950s phenomenon of Hammer horror in some detail), this collection tries to give new perspectives on areas and personalities hitherto neglected: for example, Charles Barr’s investigation of the post- Western Approaches work of

in British cinema of the 1950s
Robert Murphy

See Peter Hutchings, ‘Roy Ward Baker and Authorship’, in Justine Ashby and Andrew Higson (eds), British Cinema, Past and Present (Routledge, 2000). Baker changed his name to Roy Ward Baker in 1967. 14 ‘Editorial’, Motion 3 (November 1962), p. 4

in British cinema of the 1950s
A certain tendency?
B. F. Taylor

-emphasising their similarities. The spirit of this approach has been shaped by Peter Hutchings’s recent discussion of the British New Wave. The innovation of this approach is also complemented by the position its subjects occupy within the history of British cinema. As their collective title suggests, the arrival of these films was marked by a similar sense of innovation. This is because, as Peter Hutchings observes: Often shot on location in cities in the Midlands or the north of England and featuring relatively unknown actors and relatively untried directors, these films were

in The British New Wave
the horror genre and contemporary Spanish cinema
Andrew Willis

gangster films to Hong Kong action movies, almost all national cinemas have been influenced to some degree by American genre movies’ ( 2003 : xx). His argument echoes that of Peter Hutchings’ comment that genres exist not only in American cinema but also in other national cinemas and for non-American audiences. The more one considers this geographical

in Contemporary Spanish cinema and genre
The Man in Black
Richard J. Hand

-smith playing multiple roles and co-writing the programme with Jeremy Dyson. The universe of The League of Gentlemen is centred on the village of Royston Vasey and is in many respects as much a horror series as it is a comedy show. As Peter Hutchings writes: Themes explored through three series and a Christmas special included murder, kidnapping and imprisonment

in Listen in terror
Abstract only
The past in the present/the present in the past
Paul Newland

films starring David Niven and featuring Playboy Playmates. Critical coverage of 1970s British horror films has been provided more than adequately by Peter Hutchings, Andrew Tudor, Kim Newman and David Pirie, among others.  3 Hunt, British Low Culture: From Safari Suits to Sexploitation, p. 143. 147 135-150_BritFilm70s_Ch 5.indd 147 19/11/2012 13:01 British films of the 1970s  4 Holte, Dracula in the Dark: The Dracula Film Adaptations, p. 63.   5 I develop readings of the employment of folk music in The Wicker Man in the article ‘Folksploitation: Charting the

in British films of the 1970s