The UK must draw lessons from the US and EU’s approaches to AI to establish itself as a global leader in the technology, while ensuring the protection of its creative industries.

A panel of experts addressing the UK parliament’s culture, media, and sport (CMS) committee inquiry into British film and high-end TV has emphasized the importance of the UK learning from the successes and challenges faced by the US and the European Union (EU) in dealing with artificial intelligence (AI). The experts argue that the UK has an opportunity to establish itself as a global leader in AI technology while ensuring that its creative industries are protected and remain competitive.

The inquiry, which resumed after a hiatus caused by the UK general election, delved into the implications of AI for the film and television sectors, particularly as the technology continues to evolve rapidly. The panel of experts highlighted the need for careful regulation and strategies that balance the potential benefits of AI in creative production, such as streamlining processes and enhancing content creation, with the preservation of the jobs and creative output that have made the UK a global hub for film and television production.

The experts urged the UK government to adopt a nuanced approach to AI that recognizes both its opportunities and risks, ensuring that policies are forward-thinking and that the interests of the UK’s creative industries are safeguarded. They also stressed the importance of international collaboration, pointing out that the UK could benefit from observing how other regions are regulating AI, particularly in sectors such as film and high-end television.

This inquiry comes at a critical time as the creative industries face mounting pressures from rapid technological advancements and changing global markets, and it will likely influence the UK’s policies on both AI and the future of its film and television industries.

Benjamin Field, founder and executive producer at Deep Fusion Films, a production company specializing in the use of AI technology, expressed his belief that there is significant export potential for UK film and TV shows that ethically incorporate AI. He emphasized that AI could be a valuable tool for the creative industries, particularly when software is trained using legal and licensed data, ensuring that intellectual property rights are respected. Field highlighted that by adopting ethical AI practices, the UK could position itself as a leader in the global market, creating opportunities for films and TV shows to be distributed internationally while maintaining integrity and protecting creative industries.

In the aftermath of the US actors’ and writers’ strikes in 2023, Benjamin Field observed that studios were hesitant and “crippled with nerves” about fully embracing AI technologies. The strikes had brought the issue of AI’s impact on the creative industries to the forefront, leading to concerns over job security and fair compensation for actors and writers. As a result, many studios were cautious, reluctant to take risks in adopting AI without clear guidelines and protections in place. Field believes that this hesitation presents an opportunity for the UK to approach AI in a more balanced and ethical way, ensuring that it supports the creative workforce rather than undermining it.

Field pointed out that the response to the SAG-AFTRA and writers’ strikes in the US has created a climate of immediate backlash whenever studios suggest using AI. He contrasted this with the UK’s approach, where guidelines established by industry organizations like Pact and the performers’ union, Equity, provide a more structured framework for integrating AI into film and TV production. According to Field, these UK guidelines are better aligned with ensuring ethical practices, allowing AI to be used in a way that protects workers’ rights while still leveraging the technology’s potential. This, he believes, positions the UK as a leader in responsibly using AI in the creative industries.

Field emphasized the importance of legislation to ensure that AI practices in the UK film and TV industry are both legal and ethical. He argued that this clear framework would serve as the UK’s point of differentiation from the US and Europe. By having specific laws in place that define what is legal, the UK could confidently export AI-driven productions, knowing they are responsible, safe, and supportive of the workforce. Field stated that this is precisely what the industry needs, calling for a legal structure that would allow AI to enhance the industry while safeguarding workers’ rights.

Patchwork of legislation

Currently, the UK faces what lawyer Mathilde Pavis described as a “patchwork of legislation” that lacks coherence and is not sufficiently robust to address emerging challenges in the AI-driven creative industries. For example, there is no clear legislation prohibiting the scraping of vocal likenesses or providing protection against unauthorized digital imitations of individuals. This lack of comprehensive legal frameworks has raised concerns about the exploitation of personal data and the potential for misuse in AI-generated content, underscoring the need for more unified and enforceable regulations.

The law governing digital imitations in the UK is outdated, dating back to 1988, and was originally designed with much simpler concerns in mind. “We thought the most a performer could face was a tribute act, or soundalike or lookalike, not a big economic or moral threat,” explained lawyer Mathilde Pavis. However, with advancements in technology, the landscape has changed dramatically. Now, the ability to create large-scale digital imitations poses new economic and moral risks, as performers can be replicated in ways that were previously unimaginable, challenging existing legal protections and raising urgent concerns about intellectual property and personal rights in the digital age.

“We would expect the UK to have a system where your digital self and your physical self are equally protected, especially now that our digital lives are such a big part of our personal and professional work,” said Mathilde Pavis. “Performers are the canary in the coalmine on that particular point.” This highlights the increasing importance of safeguarding one’s digital identity, particularly for those in the entertainment industry, where digital imitations and likenesses can be exploited. As the line between digital and physical selves becomes more blurred, it’s crucial to create legal frameworks that offer equal protection for both. Performers, who are at the forefront of this issue, are often the first to experience the consequences of such technological advancements.

Liam Budd, recorded media industrial officer at the UK performers’ union Equity, pointed to the example of Guernsey, a self-governing British crown dependency, where individuals can register their own image as a property right, offering protection under legislation. This approach allows a person to have control over their likeness, preventing unauthorized use or digital imitation. Budd highlighted this as a potential model for the UK to adopt, ensuring that individuals, particularly performers, can retain ownership and protection of their digital selves. Such a framework could address the increasing need for legal safeguards in a world where digital reproductions are becoming more prevalent.

Pavis argued that eliminating “buy-out” clauses in contracts is crucial, as these clauses often allow performers and creatives to unknowingly relinquish the rights to their digital selves or intellectual property. These clauses typically involve performers giving up control over their likeness, voice, or other aspects of their digital identity for a one-time fee or limited contract period, without fully understanding the long-term implications. Pavis stressed that such practices undermine performers’ ability to protect their digital presence and intellectual property in the evolving digital landscape. She called for clearer contracts and legal protections to prevent these unknowing concessions.

The European Union’s reliance on “opt-out” clauses was heavily criticized by the experts, as these clauses require copyright owners to actively opt-out if they do not want their work used to train AI models. Ed Newton-Rex, CEO of Fairly Trained, a non-profit that certifies generative AI companies using ethical data, described these clauses as ineffective, stating, “They quite literally do not work… Opt-out is an illusion for rights holders.” He argued that the burden placed on copyright owners to proactively opt-out leaves them vulnerable to having their work used without proper consent, highlighting the need for more robust and proactive measures to protect intellectual property in the AI age.

In the absence of a comprehensive legal framework to regulate the use of AI in the creative industries, Benjamin Field shared that he is in “very early discussions” with Bafta about the possibility of implementing a certification scheme. This would be similar to the Bafta albert certification for sustainable production, which is now mandatory for all new commissions and recommissions of TV broadcast content. Field emphasized that such a scheme could help ensure ethical and responsible AI use in the film and TV industry, providing a clear standard for productions that prioritize legal and moral considerations in their use of technology.

Field pointed out that the albert calculator, which was initially a voluntary measure for productions, helped promote sustainable practices within the industry. However, he expressed concern about the potential damage that could be caused by setting a precedent with AI if it’s rolled out too quickly or without sufficient regulation. He stressed the urgency of creating robust legislation to address these concerns, highlighting that the industry needs to act swiftly to ensure AI is used responsibly and ethically, without compromising the creative workforce or their rights.

Newton-Rex warned that without clear legal protections, industrial strikes similar to the ones that took place in the US in 2023 could occur. He highlighted that creators are increasingly organizing in response to what they perceive as widespread intellectual property theft in the generative AI industry. As AI technologies continue to advance, the need for robust legal frameworks to protect the rights of creators has become more urgent. Newton-Rex emphasized that the backlash against AI-driven misuse of intellectual property is growing, and without proper safeguards, this could lead to further tensions within the industry.

Budd added that the vast majority of performers are currently very pessimistic about AI, especially in light of the ongoing issues surrounding intellectual property theft. Many in the industry are concerned that AI technologies, particularly in their current form, could undermine their rights and livelihoods. With little legal protection in place, there is a growing sense of unease among performers who fear the potential for exploitation and the loss of control over their digital likeness and creative work.

COURTESY: House of Highlights

References

1. ^ Jump up to:^a b “Table 8: Cinema Infrastructure – Capacity”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
2. ^ “Table 6: Share of Top 3 distributors (Excel)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 5 November 2013.
3. ^ “Table 1: Feature Film Production – Genre/Method of Shooting”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
4. ^ “Table 11: Exhibition – Admissions & Gross Box Office (GBO)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
5. ^ “Statistical Yearbook 2018” (PDF). BFI. British Film Institute. Archived (PDF) from the original on 28 May 2022. Retrieved 7 May 2019.
6. ^ Jump up to:^a b c “BFI Screenonline: UK Feature Films Produced 1912–2023”. Archived from the original on 4 March 2018. Retrieved 30 June 2008.
7. ^ “The Directors’ Top Ten Directors”. British Film Institute. Archived from the original on 14 May 2011. Retrieved 2 November 2010.
8. ^ “Powell, Michael (1905–1990)”. British Film Institute. Archived from the original on 16 October 2018. Retrieved 25 January 2011.
9. ^ “Reed, Carol (1906–1976)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
10. ^ “Caine, Michael (1933-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
11. ^ “Connery, Sean (1930-)”. British Film Institute. Archived from the original on 18 October 2018. Retrieved 11 December 2010.
12. ^ “Winslet, Kate (1975-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
13. ^ “Harry Potter becomes highest-grossing film franchise”. The Guardian. London. 11 September 2007. Archived from the original on 26 July 2013. Retrieved 2 November 2010.
14. ^ “Scott, Sir Ridley (1937-)”. British Film Institute. Archived from the original on 26 September 2018. Retrieved 25 January 2011.
15. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
16. ^ “UK film – the vital statistics”. UK Film Council. Archived from the original on 11 December 2011. Retrieved 22 October 2010.
17. ^ “UK cinema box office”. Cinema Exhibitor’s Association. Archived from the original on 12 April 2013. Retrieved 18 March 2013.
18. ^ “UK cinema annual admissions”. Cinema Exhibitor’s Association. Retrieved 18 March 2013.^{[permanent dead link]}
19. ^ British Film Institute | The BFI 100 bfi.org
20. ^ Jump up to:^a b “Baftas fuel Oscars race”. BBC News. 26 February 2001. Archived from the original on 26 July 2013. Retrieved 14 February 2011.
21. ^ “Louis Le Prince”. Local Heroes. BBC Education. 28 November 1999. Archived from the original on 28 November 1999. Retrieved 14 August 2011.
22. ^ Howells, Richard (Summer 2006). “Louis Le Prince: the body of evidence”. Screen. 47 (2). Oxford Journals: 179–200. doi:10.1093/screen/hjl015. ISSN 0036-9543.
23. ^ “Who’s Who of Victorian Cinema”. www.victorian-cinema.net. Archived from the original on 5 November 2015. Retrieved 28 September 2016.
24. ^ Davidson, Ewan. “Blackfriars Bridge”. BFI Screenonline Database. Archived from the original on 18 October 2022. Retrieved 18 October 2022.
25. ^ McKernan, Luke. “Booth, W.R. (1869-1938)”. BFI Screenonlinee. Archived from the original on 20 May 2016. Retrieved 24 April 2019.
26. ^ Gifford, Denis. “Walter Robert Booth”. Who’s Who of Victorian Cinema. Archived from the original on 15 March 2012. Retrieved 24 April 2019.
27. ^ “World’s first colour moving pictures discovered” Archived 14 September 2017 at the Wayback Machine. BBC News, 12 September 2012. Retrieved on 29 July 2013.
28. ^ McKernan, Luke (2018). Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897–1925. University of Exeter Press. ISBN 978-0859892964.
29. ^ Mills, Ted (31 March 2016). “The First Film Adaptation of Alice in Wonderland (1903)”. Open Culture. Archived from the original on 17 May 2017. Retrieved 19 May 2017.
30. ^ “FDA – What We Do”. Film Distributors’ Association. Archived from the original on 27 March 2022. Retrieved 18 April 2022.
31. ^ Estel Eforgan (30 June 2010). Leslie Howard: The Lost Actor. Vallentine Mitchell. ISBN 978-0-85303-971-6.
32. ^ Jump up to:^a b “The British Film Industry”. The Times. 21 January 1948. p. 5.
33. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 11 December 2010.
34. ^ Warren, Patricia (2001). British Film Studios: An Illustrated History. London: B. T. Batsford. p. 61.
35. ^ St. Pierre, Paul Matthew (31 May 2009). Music Hall Mimesis in British Film, 1895–1960: On the Hall on the Screen. Associated University Press. p. 79. ISBN 978-0-8386-4191-0.
36. ^ Richard Allen; S. Ishii-Gonzalès (2004). Hitchcock: Past and Future. Routledge. ISBN 978-0-415-27525-5.
37. ^ Burton, Alan; Chibnall, Steve (2013). Historical Dictionary of British Cinema. Lanham, MD and Plymouth, England: Scarecrow Press. p. 43. ISBN 9780810880269.
38. ^ Alexander, Lou (2003–2014). “Associated British Picture Corporation (1933-70)”. BFI screenonline. Archived from the original on 24 September 2015. Retrieved 17 July 2015.
39. ^ Warren (2001), pp. 57, 58.
40. ^ Warren (2001), pp. 26, 28.
41. ^ Mark Duguid, “Korda and Empuire” Archived 27 September 2012 at the Wayback Machine, BFI screenonline.
42. ^ Michael Brooke, “Sabu (1924–1963)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
43. ^ Stephen Bourne, “Robeson, Paul (1898–1976)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
44. ^ “British Film Institute – GOV.UK”. Government of the United Kingdom. 31 March 2022. Archived from the original on 18 January 2013. Retrieved 18 April 2022.
45. ^ Sarah Street British National Cinema, London: Routledge, 2009, p. 12.
46. ^ Warren (2001), pp. 29, 119.
47. ^ Leff, Leonard J., The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. University of California Press, 1999, p. 16.
48. ^ Jump up to:^a b c “Going to the pictures: British cinema and the Second World War” (PDF). School of Advanced Study. Archived (PDF) from the original on 20 October 2020. Retrieved 14 November 2020.
49. ^ Jump up to:^a b Gerard Gilbert (3 September 2009). “Britain’s World War II films were more than just propaganda”. The Independent. Archived from the original on 2 September 2019. Retrieved 3 May 2012.
50. ^ Warren (2001), p. 120.
51. ^ “British film import duty 1948-49”. Archived from the original on 2 May 2015. Retrieved 27 February 2019.
52. ^ “10-Day London Fest Films Preems Oct. 16”. Variety. 9 October 1957. p. 14 – via Archive.org.
53. ^ Brooke, Michael. “School for Scoundrels (1959)”. Screenonline. British Film Institute. Archived from the original on 13 February 2013. Retrieved 12 May 2013.
54. ^ Jump up to:^a b Tim O’Sullivan, “Dearden, Basil (1911-1971)” Archived 19 October 2019 at the Wayback Machine, BFI screenonline, citing the Reference Guide to British and Irish Film Directors.
55. ^ Carl Daniels, “Pool of London (1950)” Archived 22 October 2019 at the Wayback Machine, BFI screenonline.
56. ^ Ann Ogidi, “Sapphire (1959)” Archived 23 September 2012 at the Wayback Machine, BFI screenonline.
57. ^ Mark Duguid, “Victim (1961)” Archived 6 October 2012 at the Wayback Machine, BFI screenonline.
58. ^ See also David Thomson A New Biographical Dictionary of Film, London: Little, Brown, 2002, p. 213, and (for a defence) Brian McFarlane (ed.), The Encyclopedia of British Film, 2003, London: Methuen/BFI, p. 168.
59. ^ “The 100 Best British Films Ever” Archived 23 July 2015 at the Wayback Machine. Empire. Retrieved 5 January 2013
60. ^ Harris, Derek (5 September 1974). “The film industry seeks another reprieve”. The Times. p. 19.
61. ^ “BFI Screenonline: Channel 4 and Film”. Archived from the original on 29 October 2019. Retrieved 15 January 2012.
62. ^ “AMC CINEMAS® BRINGS THE MULTIPLEX TO THE UNITED KINGDOM”. Archived from the original on 4 January 2015. Retrieved 3 January 2015.
63. ^ Hoad, Phil (11 November 2010). “How multiplex cinemas saved the British film industry 25 years ago”. The Guardian. Archived from the original on 6 May 2020. Retrieved 2 April 2020.
64. ^ Michael Brooks, “HandMade Films” Archived 11 January 2013 at the Wayback Machine, BFI screenonline.
65. ^ “BFI Screenonline: Puttnam, Lord David”. Archived from the original on 26 July 2013. Retrieved 15 January 2012.
66. ^ “This week’s new theatre and dance” Archived 14 March 2016 at the Wayback Machine. The Guardian. Retrieved 19 July 2012.
67. ^ Stern, Marlow, and in 1985 we saw the retirement of Roger Moore from the role of Bond after A View to a kill,at the age of 58.“Gary Oldman Talks ‘Tinker, Tailor, Soldier, Spy,’ ‘Batman’ Retirement” Archived 31 October 2014 at the Wayback Machine. The Daily Beast. 8 December 2011. Retrieved 10 December 2013.
68. ^ Dyja, Eddie (ed.); ‘BFI Film and Television Handbook 1999’, London: BFI, 1998; p. 42.
69. ^ Watson, Neil, “Hollywood UK”, in British Cinema of the 90s, London: BFI Publishing, 2000, p. 82.
70. ^ Watson, “Hollywood UK”, p. 83.
71. ^ “£200m film studio boost for UK”. The Independent. 7 November 1995. Archived from the original on 19 November 2012. Retrieved 29 June 2012.
72. ^ “Studio Tour Casts Spells Just Like Harry”. The New York Times. 29 March 2012. Archived from the original on 23 May 2012. Retrieved 29 June 2012.
73. ^ Peter Bradshaw (6 January 2006). “Match Point”. The Guardian. Archived from the original on 16 March 2014. Retrieved 29 June 2012.
74. ^ “London Calling, With Luck, Lust and Ambition”. The New York Times. 28 December 2005. Archived from the original on 18 July 2012. Retrieved 29 June 2012.
75. ^ “Warner Bros buys Harry Potter studios in £100m boost for UK films”. The Guardian. 9 November 2010. Archived from the original on 18 November 2022. Retrieved 18 November 2011.
76. ^ “Warner to purchase and invest £100 million in film studio”. Reuters. 8 November 2010. Retrieved 18 November 2011.^{[dead link]}
77. ^ Ben Beaumont-Thomas, “Only a small fraction of British films turn a profit, BFI study finds” Archived 3 January 2017 at the Wayback Machine, The Guardian, 3 December 2013.
78. ^ “People Index – Actors: Total Gross”. Box Office Mojo. Archived from the original on 27 June 2019. Retrieved 6 May 2019.
79. ^ “British film industry will suffer if the Government closes the UK Film Council” Archived 26 February 2017 at the Wayback Machine, 5 August 2010.
80. ^ “Daniel Barber condemns UK Film Council abolition” Archived 23 July 2012 at the Wayback Machine, 29 July 2010
81. ^ “Clint Eastwood writes plea to save UK Film Council”. BBC News Online. 9 August 2010. Archived from the original on 26 January 2011.
82. ^ Shoard, Catherine (9 August 2010). “Clint Eastwood joins fight to save UK Film Council”. The Guardian. Archived from the original on 22 September 2016. Retrieved 11 December 2016.
83. ^ Online campaign to save the UK Film Council Archived 23 July 2012 at the Wayback Machine, 27 July 2010.
84. ^ child, Ben (11 August 2010). “Michael Winner berates UK Film Council supporters”. The Guardian. Archived from the original on 7 March 2016. Retrieved 11 December 2016.
85. ^ Fellowes, Julian (12 August 2010). “Cut the Film Council and end this 1970s navel-gazing”. The Telegraph. Archived from the original on 12 January 2022.
86. ^ Clarke, Donald (20 August 2010). “Pros and cons of dumping UK film council”. Irish Times. Archived from the original on 21 October 2012. Retrieved 23 August 2012.
87. ^ Ben Child, “Fade out from the UK Film Council … to the British Film Institute” Archived 1 December 2016 at the Wayback Machine, The Guardian, 1 April 2011.
88. ^ Geoffrey Macnab, “King’s Speech: BFI gets king’s ransom?” Archived 20 July 2014 at the Wayback Machine Screen Daily, 24 February 2011.
89. ^ “Christopher Nolan on ‘Interstellar’ Critics, Making Original Films and Shunning Cellphones and Email (Q&A)”. The Hollywood Reporter. 3 January 2015. Archived from the original on 17 January 2018. Retrieved 5 May 2020.
90. ^ “Warner Bros opens revamped UK film studio”. BBC. 12 June 2012. Archived from the original on 25 June 2012. Retrieved 2 July 2012.
91. ^ Statistical Yearbook 2011: 7.3 UK directors Archived 15 June 2012 at the Wayback Machine. UK Film Council. Retrieved 19 July 2012.
92. ^ “PM backs ‘dynamic and entrepreneurial’ UK film industry”. Number 10. 11 January 2012. Archived from the original on 30 October 2012. Retrieved 23 August 2012.
93. ^ Hines, Dominique (7 November 2022). “‘I am not sure we are great film-makers,’ Danny Boyle slams the British film industry”. Yahoo News. Yahoo. Archived from the original on 30 November 2022. Retrieved 1 December 2022.
94. ^ “Official 2022 statistics reveal a record £6.27 billion film and high-end television production spend in the UK”. BFI. 2 February 2023. Archived from the original on 30 June 2024. Retrieved 30 June 2024.
95. ^ “Hollywood strikes: UK film industry workers hit by US dispute”. BBC News. 25 September 2023. Archived from the original on 19 June 2024. Retrieved 30 June 2024.
96. ^ Nick Roddick, “Tim Webber: the man who put Sandra Bullock in space” Archived 22 January 2014 at the Wayback Machine, Evening Standard, 17 September 2013. Retrieved 17 January 2014.
97. References
98. [edit]
99. ^ Jump up to:^a b “Table 8: Cinema Infrastructure – Capacity”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
100. ^ “Table 6: Share of Top 3 distributors (Excel)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 5 November 2013.
101. ^ “Table 1: Feature Film Production – Genre/Method of Shooting”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
102. ^ “Table 11: Exhibition – Admissions & Gross Box Office (GBO)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
103. ^ “Statistical Yearbook 2018” (PDF). BFI. British Film Institute. Archived (PDF) from the original on 28 May 2022. Retrieved 7 May 2019.
104. ^ Jump up to:^a b c “BFI Screenonline: UK Feature Films Produced 1912–2023”. Archived from the original on 4 March 2018. Retrieved 30 June 2008.
105. ^ “The Directors’ Top Ten Directors”. British Film Institute. Archived from the original on 14 May 2011. Retrieved 2 November 2010.
106. ^ “Powell, Michael (1905–1990)”. British Film Institute. Archived from the original on 16 October 2018. Retrieved 25 January 2011.
107. ^ “Reed, Carol (1906–1976)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
108. ^ “Caine, Michael (1933-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
109. ^ “Connery, Sean (1930-)”. British Film Institute. Archived from the original on 18 October 2018. Retrieved 11 December 2010.
110. ^ “Winslet, Kate (1975-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
111. ^ “Harry Potter becomes highest-grossing film franchise”. The Guardian. London. 11 September 2007. Archived from the original on 26 July 2013. Retrieved 2 November 2010.
112. ^ “Scott, Sir Ridley (1937-)”. British Film Institute. Archived from the original on 26 September 2018. Retrieved 25 January 2011.
113. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
114. ^ “UK film – the vital statistics”. UK Film Council. Archived from the original on 11 December 2011. Retrieved 22 October 2010.
115. ^ “UK cinema box office”. Cinema Exhibitor’s Association. Archived from the original on 12 April 2013. Retrieved 18 March 2013.
116. ^ “UK cinema annual admissions”. Cinema Exhibitor’s Association. Retrieved 18 March 2013.^{[permanent dead link]}
117. ^ British Film Institute | The BFI 100 bfi.org
118. ^ Jump up to:^a b “Baftas fuel Oscars race”. BBC News. 26 February 2001. Archived from the original on 26 July 2013. Retrieved 14 February 2011.
119. ^ “Louis Le Prince”. Local Heroes. BBC Education. 28 November 1999. Archived from the original on 28 November 1999. Retrieved 14 August 2011.
120. ^ Howells, Richard (Summer 2006). “Louis Le Prince: the body of evidence”. Screen. 47 (2). Oxford Journals: 179–200. doi:10.1093/screen/hjl015. ISSN 0036-9543.
121. ^ “Who’s Who of Victorian Cinema”. www.victorian-cinema.net. Archived from the original on 5 November 2015. Retrieved 28 September 2016.
122. ^ Davidson, Ewan. “Blackfriars Bridge”. BFI Screenonline Database. Archived from the original on 18 October 2022. Retrieved 18 October 2022.
123. ^ McKernan, Luke. “Booth, W.R. (1869-1938)”. BFI Screenonlinee. Archived from the original on 20 May 2016. Retrieved 24 April 2019.
124. ^ Gifford, Denis. “Walter Robert Booth”. Who’s Who of Victorian Cinema. Archived from the original on 15 March 2012. Retrieved 24 April 2019.
125. ^ “World’s first colour moving pictures discovered” Archived 14 September 2017 at the Wayback Machine. BBC News, 12 September 2012. Retrieved on 29 July 2013.
126. ^ McKernan, Luke (2018). Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897–1925. University of Exeter Press. ISBN 978-0859892964.
127. ^ Mills, Ted (31 March 2016). “The First Film Adaptation of Alice in Wonderland (1903)”. Open Culture. Archived from the original on 17 May 2017. Retrieved 19 May 2017.
128. ^ “FDA – What We Do”. Film Distributors’ Association. Archived from the original on 27 March 2022. Retrieved 18 April 2022.
129. ^ Estel Eforgan (30 June 2010). Leslie Howard: The Lost Actor. Vallentine Mitchell. ISBN 978-0-85303-971-6.
130. ^ Jump up to:^a b “The British Film Industry”. The Times. 21 January 1948. p. 5.
131. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 11 December 2010.
132. ^ Warren, Patricia (2001). British Film Studios: An Illustrated History. London: B. T. Batsford. p. 61.
133. ^ St. Pierre, Paul Matthew (31 May 2009). Music Hall Mimesis in British Film, 1895–1960: On the Hall on the Screen. Associated University Press. p. 79. ISBN 978-0-8386-4191-0.
134. ^ Richard Allen; S. Ishii-Gonzalès (2004). Hitchcock: Past and Future. Routledge. ISBN 978-0-415-27525-5.
135. ^ Burton, Alan; Chibnall, Steve (2013). Historical Dictionary of British Cinema. Lanham, MD and Plymouth, England: Scarecrow Press. p. 43. ISBN 9780810880269.
136. ^ Alexander, Lou (2003–2014). “Associated British Picture Corporation (1933-70)”. BFI screenonline. Archived from the original on 24 September 2015. Retrieved 17 July 2015.
137. ^ Warren (2001), pp. 57, 58.
138. ^ Warren (2001), pp. 26, 28.
139. ^ Mark Duguid, “Korda and Empuire” Archived 27 September 2012 at the Wayback Machine, BFI screenonline.
140. ^ Michael Brooke, “Sabu (1924–1963)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
141. ^ Stephen Bourne, “Robeson, Paul (1898–1976)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
142. ^ “British Film Institute – GOV.UK”. Government of the United Kingdom. 31 March 2022. Archived from the original on 18 January 2013. Retrieved 18 April 2022.
143. ^ Sarah Street British National Cinema, London: Routledge, 2009, p. 12.
144. ^ Warren (2001), pp. 29, 119.
145. ^ Leff, Leonard J., The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. University of California Press, 1999, p. 16.
146. ^ Jump up to:^a b c “Going to the pictures: British cinema and the Second World War” (PDF). School of Advanced Study. Archived (PDF) from the original on 20 October 2020. Retrieved 14 November 2020.
147. ^ Jump up to:^a b Gerard Gilbert (3 September 2009). “Britain’s World War II films were more than just propaganda”. The Independent. Archived from the original on 2 September 2019. Retrieved 3 May 2012.
148. ^ Warren (2001), p. 120.
149. ^ “British film import duty 1948-49”. Archived from the original on 2 May 2015. Retrieved 27 February 2019.
150. ^ “10-Day London Fest Films Preems Oct. 16”. Variety. 9 October 1957. p. 14 – via Archive.org.
151. ^ Brooke, Michael. “School for Scoundrels (1959)”. Screenonline. British Film Institute. Archived from the original on 13 February 2013. Retrieved 12 May 2013.
152. ^ Jump up to:^a b Tim O’Sullivan, “Dearden, Basil (1911-1971)” Archived 19 October 2019 at the Wayback Machine, BFI screenonline, citing the Reference Guide to British and Irish Film Directors.
153. ^ Carl Daniels, “Pool of London (1950)” Archived 22 October 2019 at the Wayback Machine, BFI screenonline.
154. ^ Ann Ogidi, “Sapphire (1959)” Archived 23 September 2012 at the Wayback Machine, BFI screenonline.
155. ^ Mark Duguid, “Victim (1961)” Archived 6 October 2012 at the Wayback Machine, BFI screenonline.
156. ^ See also David Thomson A New Biographical Dictionary of Film, London: Little, Brown, 2002, p. 213, and (for a defence) Brian McFarlane (ed.), The Encyclopedia of British Film, 2003, London: Methuen/BFI, p. 168.
157. ^ “The 100 Best British Films Ever” Archived 23 July 2015 at the Wayback Machine. Empire. Retrieved 5 January 2013
158. ^ Harris, Derek (5 September 1974). “The film industry seeks another reprieve”. The Times. p. 19.
159. ^ “BFI Screenonline: Channel 4 and Film”. Archived from the original on 29 October 2019. Retrieved 15 January 2012.
160. ^ “AMC CINEMAS® BRINGS THE MULTIPLEX TO THE UNITED KINGDOM”. Archived from the original on 4 January 2015. Retrieved 3 January 2015.
161. ^ Hoad, Phil (11 November 2010). “How multiplex cinemas saved the British film industry 25 years ago”. The Guardian. Archived from the original on 6 May 2020. Retrieved 2 April 2020.
162. ^ Michael Brooks, “HandMade Films” Archived 11 January 2013 at the Wayback Machine, BFI screenonline.
163. ^ “BFI Screenonline: Puttnam, Lord David”. Archived from the original on 26 July 2013. Retrieved 15 January 2012.
164. ^ “This week’s new theatre and dance” Archived 14 March 2016 at the Wayback Machine. The Guardian. Retrieved 19 July 2012.
165. ^ Stern, Marlow, and in 1985 we saw the retirement of Roger Moore from the role of Bond after A View to a kill,at the age of 58.“Gary Oldman Talks ‘Tinker, Tailor, Soldier, Spy,’ ‘Batman’ Retirement” Archived 31 October 2014 at the Wayback Machine. The Daily Beast. 8 December 2011. Retrieved 10 December 2013.
166. ^ Dyja, Eddie (ed.); ‘BFI Film and Television Handbook 1999’, London: BFI, 1998; p. 42.
167. ^ Watson, Neil, “Hollywood UK”, in British Cinema of the 90s, London: BFI Publishing, 2000, p. 82.
168. ^ Watson, “Hollywood UK”, p. 83.
169. ^ “£200m film studio boost for UK”. The Independent. 7 November 1995. Archived from the original on 19 November 2012. Retrieved 29 June 2012.
170. ^ “Studio Tour Casts Spells Just Like Harry”. The New York Times. 29 March 2012. Archived from the original on 23 May 2012. Retrieved 29 June 2012.
171. ^ Peter Bradshaw (6 January 2006). “Match Point”. The Guardian. Archived from the original on 16 March 2014. Retrieved 29 June 2012.
172. ^ “London Calling, With Luck, Lust and Ambition”. The New York Times. 28 December 2005. Archived from the original on 18 July 2012. Retrieved 29 June 2012.
173. ^ “Warner Bros buys Harry Potter studios in £100m boost for UK films”. The Guardian. 9 November 2010. Archived from the original on 18 November 2022. Retrieved 18 November 2011.
174. ^ “Warner to purchase and invest £100 million in film studio”. Reuters. 8 November 2010. Retrieved 18 November 2011.^{[dead link]}
175. ^ Ben Beaumont-Thomas, “Only a small fraction of British films turn a profit, BFI study finds” Archived 3 January 2017 at the Wayback Machine, The Guardian, 3 December 2013.
176. ^ “People Index – Actors: Total Gross”. Box Office Mojo. Archived from the original on 27 June 2019. Retrieved 6 May 2019.
177. ^ “British film industry will suffer if the Government closes the UK Film Council” Archived 26 February 2017 at the Wayback Machine, 5 August 2010.
178. ^ “Daniel Barber condemns UK Film Council abolition” Archived 23 July 2012 at the Wayback Machine, 29 July 2010
179. ^ “Clint Eastwood writes plea to save UK Film Council”. BBC News Online. 9 August 2010. Archived from the original on 26 January 2011.
180. ^ Shoard, Catherine (9 August 2010). “Clint Eastwood joins fight to save UK Film Council”. The Guardian. Archived from the original on 22 September 2016. Retrieved 11 December 2016.
181. ^ Online campaign to save the UK Film Council Archived 23 July 2012 at the Wayback Machine, 27 July 2010.
182. ^ child, Ben (11 August 2010). “Michael Winner berates UK Film Council supporters”. The Guardian. Archived from the original on 7 March 2016. Retrieved 11 December 2016.
183. ^ Fellowes, Julian (12 August 2010). “Cut the Film Council and end this 1970s navel-gazing”. The Telegraph. Archived from the original on 12 January 2022.
184. ^ Clarke, Donald (20 August 2010). “Pros and cons of dumping UK film council”. Irish Times. Archived from the original on 21 October 2012. Retrieved 23 August 2012.
185. ^ Ben Child, “Fade out from the UK Film Council … to the British Film Institute” Archived 1 December 2016 at the Wayback Machine, The Guardian, 1 April 2011.
186. ^ Geoffrey Macnab, “King’s Speech: BFI gets king’s ransom?” Archived 20 July 2014 at the Wayback Machine Screen Daily, 24 February 2011.
187. ^ “Christopher Nolan on ‘Interstellar’ Critics, Making Original Films and Shunning Cellphones and Email (Q&A)”. The Hollywood Reporter. 3 January 2015. Archived from the original on 17 January 2018. Retrieved 5 May 2020.
188. ^ “Warner Bros opens revamped UK film studio”. BBC. 12 June 2012. Archived from the original on 25 June 2012. Retrieved 2 July 2012.
189. ^ Statistical Yearbook 2011: 7.3 UK directors Archived 15 June 2012 at the Wayback Machine. UK Film Council. Retrieved 19 July 2012.
190. ^ “PM backs ‘dynamic and entrepreneurial’ UK film industry”. Number 10. 11 January 2012. Archived from the original on 30 October 2012. Retrieved 23 August 2012.
191. ^ Hines, Dominique (7 November 2022). “‘I am not sure we are great film-makers,’ Danny Boyle slams the British film industry”. Yahoo News. Yahoo. Archived from the original on 30 November 2022. Retrieved 1 December 2022.
192. ^ “Official 2022 statistics reveal a record £6.27 billion film and high-end television production spend in the UK”. BFI. 2 February 2023. Archived from the original on 30 June 2024. Retrieved 30 June 2024.
193. ^ “Hollywood strikes: UK film industry workers hit by US dispute”. BBC News. 25 September 2023. Archived from the original on 19 June 2024. Retrieved 30 June 2024.
194. ^ Nick Roddick, “Tim Webber: the man who put Sandra Bullock in space” Archived 22 January 2014 at the Wayback Machine, Evening Standard, 17 September 2013. Retrieved 17 January 2014.
195. References
196. [edit]
197. ^ Jump up to:^a b “Table 8: Cinema Infrastructure – Capacity”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
198. ^ “Table 6: Share of Top 3 distributors (Excel)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 5 November 2013.
199. ^ “Table 1: Feature Film Production – Genre/Method of Shooting”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
200. ^ “Table 11: Exhibition – Admissions & Gross Box Office (GBO)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
201. ^ “Statistical Yearbook 2018” (PDF). BFI. British Film Institute. Archived (PDF) from the original on 28 May 2022. Retrieved 7 May 2019.
202. ^ Jump up to:^a b c “BFI Screenonline: UK Feature Films Produced 1912–2023”. Archived from the original on 4 March 2018. Retrieved 30 June 2008.
203. ^ “The Directors’ Top Ten Directors”. British Film Institute. Archived from the original on 14 May 2011. Retrieved 2 November 2010.
204. ^ “Powell, Michael (1905–1990)”. British Film Institute. Archived from the original on 16 October 2018. Retrieved 25 January 2011.
205. ^ “Reed, Carol (1906–1976)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
206. ^ “Caine, Michael (1933-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
207. ^ “Connery, Sean (1930-)”. British Film Institute. Archived from the original on 18 October 2018. Retrieved 11 December 2010.
208. ^ “Winslet, Kate (1975-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
209. ^ “Harry Potter becomes highest-grossing film franchise”. The Guardian. London. 11 September 2007. Archived from the original on 26 July 2013. Retrieved 2 November 2010.
210. ^ “Scott, Sir Ridley (1937-)”. British Film Institute. Archived from the original on 26 September 2018. Retrieved 25 January 2011.
211. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
212. ^ “UK film – the vital statistics”. UK Film Council. Archived from the original on 11 December 2011. Retrieved 22 October 2010.
213. ^ “UK cinema box office”. Cinema Exhibitor’s Association. Archived from the original on 12 April 2013. Retrieved 18 March 2013.
214. ^ “UK cinema annual admissions”. Cinema Exhibitor’s Association. Retrieved 18 March 2013.^{[permanent dead link]}
215. ^ British Film Institute | The BFI 100 bfi.org
216. ^ Jump up to:^a b “Baftas fuel Oscars race”. BBC News. 26 February 2001. Archived from the original on 26 July 2013. Retrieved 14 February 2011.
217. ^ “Louis Le Prince”. Local Heroes. BBC Education. 28 November 1999. Archived from the original on 28 November 1999. Retrieved 14 August 2011.
218. ^ Howells, Richard (Summer 2006). “Louis Le Prince: the body of evidence”. Screen. 47 (2). Oxford Journals: 179–200. doi:10.1093/screen/hjl015. ISSN 0036-9543.
219. ^ “Who’s Who of Victorian Cinema”. www.victorian-cinema.net. Archived from the original on 5 November 2015. Retrieved 28 September 2016.
220. ^ Davidson, Ewan. “Blackfriars Bridge”. BFI Screenonline Database. Archived from the original on 18 October 2022. Retrieved 18 October 2022.
221. ^ McKernan, Luke. “Booth, W.R. (1869-1938)”. BFI Screenonlinee. Archived from the original on 20 May 2016. Retrieved 24 April 2019.
222. ^ Gifford, Denis. “Walter Robert Booth”. Who’s Who of Victorian Cinema. Archived from the original on 15 March 2012. Retrieved 24 April 2019.
223. ^ “World’s first colour moving pictures discovered” Archived 14 September 2017 at the Wayback Machine. BBC News, 12 September 2012. Retrieved on 29 July 2013.
224. ^ McKernan, Luke (2018). Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897–1925. University of Exeter Press. ISBN 978-0859892964.
225. ^ Mills, Ted (31 March 2016). “The First Film Adaptation of Alice in Wonderland (1903)”. Open Culture. Archived from the original on 17 May 2017. Retrieved 19 May 2017.
226. ^ “FDA – What We Do”. Film Distributors’ Association. Archived from the original on 27 March 2022. Retrieved 18 April 2022.
227. ^ Estel Eforgan (30 June 2010). Leslie Howard: The Lost Actor. Vallentine Mitchell. ISBN 978-0-85303-971-6.
228. ^ Jump up to:^a b “The British Film Industry”. The Times. 21 January 1948. p. 5.
229. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 11 December 2010.
230. ^ Warren, Patricia (2001). British Film Studios: An Illustrated History. London: B. T. Batsford. p. 61.
231. ^ St. Pierre, Paul Matthew (31 May 2009). Music Hall Mimesis in British Film, 1895–1960: On the Hall on the Screen. Associated University Press. p. 79. ISBN 978-0-8386-4191-0.
232. ^ Richard Allen; S. Ishii-Gonzalès (2004). Hitchcock: Past and Future. Routledge. ISBN 978-0-415-27525-5.
233. ^ Burton, Alan; Chibnall, Steve (2013). Historical Dictionary of British Cinema. Lanham, MD and Plymouth, England: Scarecrow Press. p. 43. ISBN 9780810880269.
234. ^ Alexander, Lou (2003–2014). “Associated British Picture Corporation (1933-70)”. BFI screenonline. Archived from the original on 24 September 2015. Retrieved 17 July 2015.
235. ^ Warren (2001), pp. 57, 58.
236. ^ Warren (2001), pp. 26, 28.
237. ^ Mark Duguid, “Korda and Empuire” Archived 27 September 2012 at the Wayback Machine, BFI screenonline.
238. ^ Michael Brooke, “Sabu (1924–1963)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
239. ^ Stephen Bourne, “Robeson, Paul (1898–1976)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
240. ^ “British Film Institute – GOV.UK”. Government of the United Kingdom. 31 March 2022. Archived from the original on 18 January 2013. Retrieved 18 April 2022.
241. ^ Sarah Street British National Cinema, London: Routledge, 2009, p. 12.
242. ^ Warren (2001), pp. 29, 119.
243. ^ Leff, Leonard J., The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. University of California Press, 1999, p. 16.
244. ^ Jump up to:^a b c “Going to the pictures: British cinema and the Second World War” (PDF). School of Advanced Study. Archived (PDF) from the original on 20 October 2020. Retrieved 14 November 2020.
245. ^ Jump up to:^a b Gerard Gilbert (3 September 2009). “Britain’s World War II films were more than just propaganda”. The Independent. Archived from the original on 2 September 2019. Retrieved 3 May 2012.
246. ^ Warren (2001), p. 120.
247. ^ “British film import duty 1948-49”. Archived from the original on 2 May 2015. Retrieved 27 February 2019.
248. ^ “10-Day London Fest Films Preems Oct. 16”. Variety. 9 October 1957. p. 14 – via Archive.org.
249. ^ Brooke, Michael. “School for Scoundrels (1959)”. Screenonline. British Film Institute. Archived from the original on 13 February 2013. Retrieved 12 May 2013.
250. ^ Jump up to:^a b Tim O’Sullivan, “Dearden, Basil (1911-1971)” Archived 19 October 2019 at the Wayback Machine, BFI screenonline, citing the Reference Guide to British and Irish Film Directors.
251. ^ Carl Daniels, “Pool of London (1950)” Archived 22 October 2019 at the Wayback Machine, BFI screenonline.
252. ^ Ann Ogidi, “Sapphire (1959)” Archived 23 September 2012 at the Wayback Machine, BFI screenonline.
253. ^ Mark Duguid, “Victim (1961)” Archived 6 October 2012 at the Wayback Machine, BFI screenonline.
254. ^ See also David Thomson A New Biographical Dictionary of Film, London: Little, Brown, 2002, p. 213, and (for a defence) Brian McFarlane (ed.), The Encyclopedia of British Film, 2003, London: Methuen/BFI, p. 168.
255. ^ “The 100 Best British Films Ever” Archived 23 July 2015 at the Wayback Machine. Empire. Retrieved 5 January 2013
256. ^ Harris, Derek (5 September 1974). “The film industry seeks another reprieve”. The Times. p. 19.
257. ^ “BFI Screenonline: Channel 4 and Film”. Archived from the original on 29 October 2019. Retrieved 15 January 2012.
258. ^ “AMC CINEMAS® BRINGS THE MULTIPLEX TO THE UNITED KINGDOM”. Archived from the original on 4 January 2015. Retrieved 3 January 2015.
259. ^ Hoad, Phil (11 November 2010). “How multiplex cinemas saved the British film industry 25 years ago”. The Guardian. Archived from the original on 6 May 2020. Retrieved 2 April 2020.
260. ^ Michael Brooks, “HandMade Films” Archived 11 January 2013 at the Wayback Machine, BFI screenonline.
261. ^ “BFI Screenonline: Puttnam, Lord David”. Archived from the original on 26 July 2013. Retrieved 15 January 2012.
262. ^ “This week’s new theatre and dance” Archived 14 March 2016 at the Wayback Machine. The Guardian. Retrieved 19 July 2012.
263. ^ Stern, Marlow, and in 1985 we saw the retirement of Roger Moore from the role of Bond after A View to a kill,at the age of 58.“Gary Oldman Talks ‘Tinker, Tailor, Soldier, Spy,’ ‘Batman’ Retirement” Archived 31 October 2014 at the Wayback Machine. The Daily Beast. 8 December 2011. Retrieved 10 December 2013.
264. ^ Dyja, Eddie (ed.); ‘BFI Film and Television Handbook 1999’, London: BFI, 1998; p. 42.
265. ^ Watson, Neil, “Hollywood UK”, in British Cinema of the 90s, London: BFI Publishing, 2000, p. 82.
266. ^ Watson, “Hollywood UK”, p. 83.
267. ^ “£200m film studio boost for UK”. The Independent. 7 November 1995. Archived from the original on 19 November 2012. Retrieved 29 June 2012.
268. ^ “Studio Tour Casts Spells Just Like Harry”. The New York Times. 29 March 2012. Archived from the original on 23 May 2012. Retrieved 29 June 2012.
269. ^ Peter Bradshaw (6 January 2006). “Match Point”. The Guardian. Archived from the original on 16 March 2014. Retrieved 29 June 2012.
270. ^ “London Calling, With Luck, Lust and Ambition”. The New York Times. 28 December 2005. Archived from the original on 18 July 2012. Retrieved 29 June 2012.
271. ^ “Warner Bros buys Harry Potter studios in £100m boost for UK films”. The Guardian. 9 November 2010. Archived from the original on 18 November 2022. Retrieved 18 November 2011.
272. ^ “Warner to purchase and invest £100 million in film studio”. Reuters. 8 November 2010. Retrieved 18 November 2011.^{[dead link]}
273. ^ Ben Beaumont-Thomas, “Only a small fraction of British films turn a profit, BFI study finds” Archived 3 January 2017 at the Wayback Machine, The Guardian, 3 December 2013.
274. ^ “People Index – Actors: Total Gross”. Box Office Mojo. Archived from the original on 27 June 2019. Retrieved 6 May 2019.
275. ^ “British film industry will suffer if the Government closes the UK Film Council” Archived 26 February 2017 at the Wayback Machine, 5 August 2010.
276. ^ “Daniel Barber condemns UK Film Council abolition” Archived 23 July 2012 at the Wayback Machine, 29 July 2010
277. ^ “Clint Eastwood writes plea to save UK Film Council”. BBC News Online. 9 August 2010. Archived from the original on 26 January 2011.
278. ^ Shoard, Catherine (9 August 2010). “Clint Eastwood joins fight to save UK Film Council”. The Guardian. Archived from the original on 22 September 2016. Retrieved 11 December 2016.
279. ^ Online campaign to save the UK Film Council Archived 23 July 2012 at the Wayback Machine, 27 July 2010.
280. ^ child, Ben (11 August 2010). “Michael Winner berates UK Film Council supporters”. The Guardian. Archived from the original on 7 March 2016. Retrieved 11 December 2016.
281. ^ Fellowes, Julian (12 August 2010). “Cut the Film Council and end this 1970s navel-gazing”. The Telegraph. Archived from the original on 12 January 2022.
282. ^ Clarke, Donald (20 August 2010). “Pros and cons of dumping UK film council”. Irish Times. Archived from the original on 21 October 2012. Retrieved 23 August 2012.
283. ^ Ben Child, “Fade out from the UK Film Council … to the British Film Institute” Archived 1 December 2016 at the Wayback Machine, The Guardian, 1 April 2011.
284. ^ Geoffrey Macnab, “King’s Speech: BFI gets king’s ransom?” Archived 20 July 2014 at the Wayback Machine Screen Daily, 24 February 2011.
285. ^ “Christopher Nolan on ‘Interstellar’ Critics, Making Original Films and Shunning Cellphones and Email (Q&A)”. The Hollywood Reporter. 3 January 2015. Archived from the original on 17 January 2018. Retrieved 5 May 2020.
286. ^ “Warner Bros opens revamped UK film studio”. BBC. 12 June 2012. Archived from the original on 25 June 2012. Retrieved 2 July 2012.
287. ^ Statistical Yearbook 2011: 7.3 UK directors Archived 15 June 2012 at the Wayback Machine. UK Film Council. Retrieved 19 July 2012.
288. ^ “PM backs ‘dynamic and entrepreneurial’ UK film industry”. Number 10. 11 January 2012. Archived from the original on 30 October 2012. Retrieved 23 August 2012.
289. ^ Hines, Dominique (7 November 2022). “‘I am not sure we are great film-makers,’ Danny Boyle slams the British film industry”. Yahoo News. Yahoo. Archived from the original on 30 November 2022. Retrieved 1 December 2022.
290. ^ “Official 2022 statistics reveal a record £6.27 billion film and high-end television production spend in the UK”. BFI. 2 February 2023. Archived from the original on 30 June 2024. Retrieved 30 June 2024.
291. ^ “Hollywood strikes: UK film industry workers hit by US dispute”. BBC News. 25 September 2023. Archived from the original on 19 June 2024. Retrieved 30 June 2024.
292. ^ Nick Roddick, “Tim Webber: the man who put Sandra Bullock in space” Archived 22 January 2014 at the Wayback Machine, Evening Standard, 17 September 2013. Retrieved 17 January 2014.
293. References
294. [edit]
295. ^ Jump up to:^a b “Table 8: Cinema Infrastructure – Capacity”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
296. ^ “Table 6: Share of Top 3 distributors (Excel)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 5 November 2013.
297. ^ “Table 1: Feature Film Production – Genre/Method of Shooting”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
298. ^ “Table 11: Exhibition – Admissions & Gross Box Office (GBO)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
299. ^ “Statistical Yearbook 2018” (PDF). BFI. British Film Institute. Archived (PDF) from the original on 28 May 2022. Retrieved 7 May 2019.
300. ^ Jump up to:^a b c “BFI Screenonline: UK Feature Films Produced 1912–2023”. Archived from the original on 4 March 2018. Retrieved 30 June 2008.
301. ^ “The Directors’ Top Ten Directors”. British Film Institute. Archived from the original on 14 May 2011. Retrieved 2 November 2010.
302. ^ “Powell, Michael (1905–1990)”. British Film Institute. Archived from the original on 16 October 2018. Retrieved 25 January 2011.
303. ^ “Reed, Carol (1906–1976)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
304. ^ “Caine, Michael (1933-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
305. ^ “Connery, Sean (1930-)”. British Film Institute. Archived from the original on 18 October 2018. Retrieved 11 December 2010.
306. ^ “Winslet, Kate (1975-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
307. ^ “Harry Potter becomes highest-grossing film franchise”. The Guardian. London. 11 September 2007. Archived from the original on 26 July 2013. Retrieved 2 November 2010.
308. ^ “Scott, Sir Ridley (1937-)”. British Film Institute. Archived from the original on 26 September 2018. Retrieved 25 January 2011.
309. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
310. ^ “UK film – the vital statistics”. UK Film Council. Archived from the original on 11 December 2011. Retrieved 22 October 2010.
311. ^ “UK cinema box office”. Cinema Exhibitor’s Association. Archived from the original on 12 April 2013. Retrieved 18 March 2013.
312. ^ “UK cinema annual admissions”. Cinema Exhibitor’s Association. Retrieved 18 March 2013.^{[permanent dead link]}
313. ^ British Film Institute | The BFI 100 bfi.org
314. ^ Jump up to:^a b “Baftas fuel Oscars race”. BBC News. 26 February 2001. Archived from the original on 26 July 2013. Retrieved 14 February 2011.
315. ^ “Louis Le Prince”. Local Heroes. BBC Education. 28 November 1999. Archived from the original on 28 November 1999. Retrieved 14 August 2011.
316. ^ Howells, Richard (Summer 2006). “Louis Le Prince: the body of evidence”. Screen. 47 (2). Oxford Journals: 179–200. doi:10.1093/screen/hjl015. ISSN 0036-9543.
317. ^ “Who’s Who of Victorian Cinema”. www.victorian-cinema.net. Archived from the original on 5 November 2015. Retrieved 28 September 2016.
318. ^ Davidson, Ewan. “Blackfriars Bridge”. BFI Screenonline Database. Archived from the original on 18 October 2022. Retrieved 18 October 2022.
319. ^ McKernan, Luke. “Booth, W.R. (1869-1938)”. BFI Screenonlinee. Archived from the original on 20 May 2016. Retrieved 24 April 2019.
320. ^ Gifford, Denis. “Walter Robert Booth”. Who’s Who of Victorian Cinema. Archived from the original on 15 March 2012. Retrieved 24 April 2019.
321. ^ “World’s first colour moving pictures discovered” Archived 14 September 2017 at the Wayback Machine. BBC News, 12 September 2012. Retrieved on 29 July 2013.
322. ^ McKernan, Luke (2018). Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897–1925. University of Exeter Press. ISBN 978-0859892964.
323. ^ Mills, Ted (31 March 2016). “The First Film Adaptation of Alice in Wonderland (1903)”. Open Culture. Archived from the original on 17 May 2017. Retrieved 19 May 2017.
324. ^ “FDA – What We Do”. Film Distributors’ Association. Archived from the original on 27 March 2022. Retrieved 18 April 2022.
325. ^ Estel Eforgan (30 June 2010). Leslie Howard: The Lost Actor. Vallentine Mitchell. ISBN 978-0-85303-971-6.
326. ^ Jump up to:^a b “The British Film Industry”. The Times. 21 January 1948. p. 5.
327. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 11 December 2010.
328. ^ Warren, Patricia (2001). British Film Studios: An Illustrated History. London: B. T. Batsford. p. 61.
329. ^ St. Pierre, Paul Matthew (31 May 2009). Music Hall Mimesis in British Film, 1895–1960: On the Hall on the Screen. Associated University Press. p. 79. ISBN 978-0-8386-4191-0.
330. ^ Richard Allen; S. Ishii-Gonzalès (2004). Hitchcock: Past and Future. Routledge. ISBN 978-0-415-27525-5.
331. ^ Burton, Alan; Chibnall, Steve (2013). Historical Dictionary of British Cinema. Lanham, MD and Plymouth, England: Scarecrow Press. p. 43. ISBN 9780810880269.
332. ^ Alexander, Lou (2003–2014). “Associated British Picture Corporation (1933-70)”. BFI screenonline. Archived from the original on 24 September 2015. Retrieved 17 July 2015.
333. ^ Warren (2001), pp. 57, 58.
334. ^ Warren (2001), pp. 26, 28.
335. ^ Mark Duguid, “Korda and Empuire” Archived 27 September 2012 at the Wayback Machine, BFI screenonline.
336. ^ Michael Brooke, “Sabu (1924–1963)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
337. ^ Stephen Bourne, “Robeson, Paul (1898–1976)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
338. ^ “British Film Institute – GOV.UK”. Government of the United Kingdom. 31 March 2022. Archived from the original on 18 January 2013. Retrieved 18 April 2022.
339. ^ Sarah Street British National Cinema, London: Routledge, 2009, p. 12.
340. ^ Warren (2001), pp. 29, 119.
341. ^ Leff, Leonard J., The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. University of California Press, 1999, p. 16.
342. ^ Jump up to:^a b c “Going to the pictures: British cinema and the Second World War” (PDF). School of Advanced Study. Archived (PDF) from the original on 20 October 2020. Retrieved 14 November 2020.
343. ^ Jump up to:^a b Gerard Gilbert (3 September 2009). “Britain’s World War II films were more than just propaganda”. The Independent. Archived from the original on 2 September 2019. Retrieved 3 May 2012.
344. ^ Warren (2001), p. 120.
345. ^ “British film import duty 1948-49”. Archived from the original on 2 May 2015. Retrieved 27 February 2019.
346. ^ “10-Day London Fest Films Preems Oct. 16”. Variety. 9 October 1957. p. 14 – via Archive.org.
347. ^ Brooke, Michael. “School for Scoundrels (1959)”. Screenonline. British Film Institute. Archived from the original on 13 February 2013. Retrieved 12 May 2013.
348. ^ Jump up to:^a b Tim O’Sullivan, “Dearden, Basil (1911-1971)” Archived 19 October 2019 at the Wayback Machine, BFI screenonline, citing the Reference Guide to British and Irish Film Directors.
349. ^ Carl Daniels, “Pool of London (1950)” Archived 22 October 2019 at the Wayback Machine, BFI screenonline.
350. ^ Ann Ogidi, “Sapphire (1959)” Archived 23 September 2012 at the Wayback Machine, BFI screenonline.
351. ^ Mark Duguid, “Victim (1961)” Archived 6 October 2012 at the Wayback Machine, BFI screenonline.
352. ^ See also David Thomson A New Biographical Dictionary of Film, London: Little, Brown, 2002, p. 213, and (for a defence) Brian McFarlane (ed.), The Encyclopedia of British Film, 2003, London: Methuen/BFI, p. 168.
353. ^ “The 100 Best British Films Ever” Archived 23 July 2015 at the Wayback Machine. Empire. Retrieved 5 January 2013
354. ^ Harris, Derek (5 September 1974). “The film industry seeks another reprieve”. The Times. p. 19.
355. ^ “BFI Screenonline: Channel 4 and Film”. Archived from the original on 29 October 2019. Retrieved 15 January 2012.
356. ^ “AMC CINEMAS® BRINGS THE MULTIPLEX TO THE UNITED KINGDOM”. Archived from the original on 4 January 2015. Retrieved 3 January 2015.
357. ^ Hoad, Phil (11 November 2010). “How multiplex cinemas saved the British film industry 25 years ago”. The Guardian. Archived from the original on 6 May 2020. Retrieved 2 April 2020.
358. ^ Michael Brooks, “HandMade Films” Archived 11 January 2013 at the Wayback Machine, BFI screenonline.
359. ^ “BFI Screenonline: Puttnam, Lord David”. Archived from the original on 26 July 2013. Retrieved 15 January 2012.
360. ^ “This week’s new theatre and dance” Archived 14 March 2016 at the Wayback Machine. The Guardian. Retrieved 19 July 2012.
361. ^ Stern, Marlow, and in 1985 we saw the retirement of Roger Moore from the role of Bond after A View to a kill,at the age of 58.“Gary Oldman Talks ‘Tinker, Tailor, Soldier, Spy,’ ‘Batman’ Retirement” Archived 31 October 2014 at the Wayback Machine. The Daily Beast. 8 December 2011. Retrieved 10 December 2013.
362. ^ Dyja, Eddie (ed.); ‘BFI Film and Television Handbook 1999’, London: BFI, 1998; p. 42.
363. ^ Watson, Neil, “Hollywood UK”, in British Cinema of the 90s, London: BFI Publishing, 2000, p. 82.
364. ^ Watson, “Hollywood UK”, p. 83.
365. ^ “£200m film studio boost for UK”. The Independent. 7 November 1995. Archived from the original on 19 November 2012. Retrieved 29 June 2012.
366. ^ “Studio Tour Casts Spells Just Like Harry”. The New York Times. 29 March 2012. Archived from the original on 23 May 2012. Retrieved 29 June 2012.
367. ^ Peter Bradshaw (6 January 2006). “Match Point”. The Guardian. Archived from the original on 16 March 2014. Retrieved 29 June 2012.
368. ^ “London Calling, With Luck, Lust and Ambition”. The New York Times. 28 December 2005. Archived from the original on 18 July 2012. Retrieved 29 June 2012.
369. ^ “Warner Bros buys Harry Potter studios in £100m boost for UK films”. The Guardian. 9 November 2010. Archived from the original on 18 November 2022. Retrieved 18 November 2011.
370. ^ “Warner to purchase and invest £100 million in film studio”. Reuters. 8 November 2010. Retrieved 18 November 2011.^{[dead link]}
371. ^ Ben Beaumont-Thomas, “Only a small fraction of British films turn a profit, BFI study finds” Archived 3 January 2017 at the Wayback Machine, The Guardian, 3 December 2013.
372. ^ “People Index – Actors: Total Gross”. Box Office Mojo. Archived from the original on 27 June 2019. Retrieved 6 May 2019.
373. ^ “British film industry will suffer if the Government closes the UK Film Council” Archived 26 February 2017 at the Wayback Machine, 5 August 2010.
374. ^ “Daniel Barber condemns UK Film Council abolition” Archived 23 July 2012 at the Wayback Machine, 29 July 2010
375. ^ “Clint Eastwood writes plea to save UK Film Council”. BBC News Online. 9 August 2010. Archived from the original on 26 January 2011.
376. ^ Shoard, Catherine (9 August 2010). “Clint Eastwood joins fight to save UK Film Council”. The Guardian. Archived from the original on 22 September 2016. Retrieved 11 December 2016.
377. ^ Online campaign to save the UK Film Council Archived 23 July 2012 at the Wayback Machine, 27 July 2010.
378. ^ child, Ben (11 August 2010). “Michael Winner berates UK Film Council supporters”. The Guardian. Archived from the original on 7 March 2016. Retrieved 11 December 2016.
379. ^ Fellowes, Julian (12 August 2010). “Cut the Film Council and end this 1970s navel-gazing”. The Telegraph. Archived from the original on 12 January 2022.
380. ^ Clarke, Donald (20 August 2010). “Pros and cons of dumping UK film council”. Irish Times. Archived from the original on 21 October 2012. Retrieved 23 August 2012.
381. ^ Ben Child, “Fade out from the UK Film Council … to the British Film Institute” Archived 1 December 2016 at the Wayback Machine, The Guardian, 1 April 2011.
382. ^ Geoffrey Macnab, “King’s Speech: BFI gets king’s ransom?” Archived 20 July 2014 at the Wayback Machine Screen Daily, 24 February 2011.
383. ^ “Christopher Nolan on ‘Interstellar’ Critics, Making Original Films and Shunning Cellphones and Email (Q&A)”. The Hollywood Reporter. 3 January 2015. Archived from the original on 17 January 2018. Retrieved 5 May 2020.
384. ^ “Warner Bros opens revamped UK film studio”. BBC. 12 June 2012. Archived from the original on 25 June 2012. Retrieved 2 July 2012.
385. ^ Statistical Yearbook 2011: 7.3 UK directors Archived 15 June 2012 at the Wayback Machine. UK Film Council. Retrieved 19 July 2012.
386. ^ “PM backs ‘dynamic and entrepreneurial’ UK film industry”. Number 10. 11 January 2012. Archived from the original on 30 October 2012. Retrieved 23 August 2012.
387. ^ Hines, Dominique (7 November 2022). “‘I am not sure we are great film-makers,’ Danny Boyle slams the British film industry”. Yahoo News. Yahoo. Archived from the original on 30 November 2022. Retrieved 1 December 2022.
388. ^ “Official 2022 statistics reveal a record £6.27 billion film and high-end television production spend in the UK”. BFI. 2 February 2023. Archived from the original on 30 June 2024. Retrieved 30 June 2024.
389. ^ “Hollywood strikes: UK film industry workers hit by US dispute”. BBC News. 25 September 2023. Archived from the original on 19 June 2024. Retrieved 30 June 2024.
390. ^ Nick Roddick, “Tim Webber: the man who put Sandra Bullock in space” Archived 22 January 2014 at the Wayback Machine, Evening Standard, 17 September 2013. Retrieved 17 January 2014.
391. References
392. [edit]
393. ^ Jump up to:^a b “Table 8: Cinema Infrastructure – Capacity”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
394. ^ “Table 6: Share of Top 3 distributors (Excel)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 5 November 2013.
395. ^ “Table 1: Feature Film Production – Genre/Method of Shooting”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
396. ^ “Table 11: Exhibition – Admissions & Gross Box Office (GBO)”. UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 7 May 2019.
397. ^ “Statistical Yearbook 2018” (PDF). BFI. British Film Institute. Archived (PDF) from the original on 28 May 2022. Retrieved 7 May 2019.
398. ^ Jump up to:^a b c “BFI Screenonline: UK Feature Films Produced 1912–2023”. Archived from the original on 4 March 2018. Retrieved 30 June 2008.
399. ^ “The Directors’ Top Ten Directors”. British Film Institute. Archived from the original on 14 May 2011. Retrieved 2 November 2010.
400. ^ “Powell, Michael (1905–1990)”. British Film Institute. Archived from the original on 16 October 2018. Retrieved 25 January 2011.
401. ^ “Reed, Carol (1906–1976)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
402. ^ “Caine, Michael (1933-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
403. ^ “Connery, Sean (1930-)”. British Film Institute. Archived from the original on 18 October 2018. Retrieved 11 December 2010.
404. ^ “Winslet, Kate (1975-)”. British Film Institute. Archived from the original on 16 September 2018. Retrieved 11 December 2010.
405. ^ “Harry Potter becomes highest-grossing film franchise”. The Guardian. London. 11 September 2007. Archived from the original on 26 July 2013. Retrieved 2 November 2010.
406. ^ “Scott, Sir Ridley (1937-)”. British Film Institute. Archived from the original on 26 September 2018. Retrieved 25 January 2011.
407. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 25 January 2011.
408. ^ “UK film – the vital statistics”. UK Film Council. Archived from the original on 11 December 2011. Retrieved 22 October 2010.
409. ^ “UK cinema box office”. Cinema Exhibitor’s Association. Archived from the original on 12 April 2013. Retrieved 18 March 2013.
410. ^ “UK cinema annual admissions”. Cinema Exhibitor’s Association. Retrieved 18 March 2013.^{[permanent dead link]}
411. ^ British Film Institute | The BFI 100 bfi.org
412. ^ Jump up to:^a b “Baftas fuel Oscars race”. BBC News. 26 February 2001. Archived from the original on 26 July 2013. Retrieved 14 February 2011.
413. ^ “Louis Le Prince”. Local Heroes. BBC Education. 28 November 1999. Archived from the original on 28 November 1999. Retrieved 14 August 2011.
414. ^ Howells, Richard (Summer 2006). “Louis Le Prince: the body of evidence”. Screen. 47 (2). Oxford Journals: 179–200. doi:10.1093/screen/hjl015. ISSN 0036-9543.
415. ^ “Who’s Who of Victorian Cinema”. www.victorian-cinema.net. Archived from the original on 5 November 2015. Retrieved 28 September 2016.
416. ^ Davidson, Ewan. “Blackfriars Bridge”. BFI Screenonline Database. Archived from the original on 18 October 2022. Retrieved 18 October 2022.
417. ^ McKernan, Luke. “Booth, W.R. (1869-1938)”. BFI Screenonlinee. Archived from the original on 20 May 2016. Retrieved 24 April 2019.
418. ^ Gifford, Denis. “Walter Robert Booth”. Who’s Who of Victorian Cinema. Archived from the original on 15 March 2012. Retrieved 24 April 2019.
419. ^ “World’s first colour moving pictures discovered” Archived 14 September 2017 at the Wayback Machine. BBC News, 12 September 2012. Retrieved on 29 July 2013.
420. ^ McKernan, Luke (2018). Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897–1925. University of Exeter Press. ISBN 978-0859892964.
421. ^ Mills, Ted (31 March 2016). “The First Film Adaptation of Alice in Wonderland (1903)”. Open Culture. Archived from the original on 17 May 2017. Retrieved 19 May 2017.
422. ^ “FDA – What We Do”. Film Distributors’ Association. Archived from the original on 27 March 2022. Retrieved 18 April 2022.
423. ^ Estel Eforgan (30 June 2010). Leslie Howard: The Lost Actor. Vallentine Mitchell. ISBN 978-0-85303-971-6.
424. ^ Jump up to:^a b “The British Film Industry”. The Times. 21 January 1948. p. 5.
425. ^ “Chaplin, Charles (1889–1977)”. British Film Institute. Archived from the original on 8 August 2012. Retrieved 11 December 2010.
426. ^ Warren, Patricia (2001). British Film Studios: An Illustrated History. London: B. T. Batsford. p. 61.
427. ^ St. Pierre, Paul Matthew (31 May 2009). Music Hall Mimesis in British Film, 1895–1960: On the Hall on the Screen. Associated University Press. p. 79. ISBN 978-0-8386-4191-0.
428. ^ Richard Allen; S. Ishii-Gonzalès (2004). Hitchcock: Past and Future. Routledge. ISBN 978-0-415-27525-5.
429. ^ Burton, Alan; Chibnall, Steve (2013). Historical Dictionary of British Cinema. Lanham, MD and Plymouth, England: Scarecrow Press. p. 43. ISBN 9780810880269.
430. ^ Alexander, Lou (2003–2014). “Associated British Picture Corporation (1933-70)”. BFI screenonline. Archived from the original on 24 September 2015. Retrieved 17 July 2015.
431. ^ Warren (2001), pp. 57, 58.
432. ^ Warren (2001), pp. 26, 28.
433. ^ Mark Duguid, “Korda and Empuire” Archived 27 September 2012 at the Wayback Machine, BFI screenonline.
434. ^ Michael Brooke, “Sabu (1924–1963)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
435. ^ Stephen Bourne, “Robeson, Paul (1898–1976)” Archived 8 August 2012 at the Wayback Machine, BFI screenonline.
436. ^ “British Film Institute – GOV.UK”. Government of the United Kingdom. 31 March 2022. Archived from the original on 18 January 2013. Retrieved 18 April 2022.
437. ^ Sarah Street British National Cinema, London: Routledge, 2009, p. 12.
438. ^ Warren (2001), pp. 29, 119.
439. ^ Leff, Leonard J., The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. University of California Press, 1999, p. 16.
440. ^ Jump up to:^a b c “Going to the pictures: British cinema and the Second World War” (PDF). School of Advanced Study. Archived (PDF) from the original on 20 October 2020. Retrieved 14 November 2020.
441. ^ Jump up to:^a b Gerard Gilbert (3 September 2009). “Britain’s World War II films were more than just propaganda”. The Independent. Archived from the original on 2 September 2019. Retrieved 3 May 2012.
442. ^ Warren (2001), p. 120.
443. ^ “British film import duty 1948-49”. Archived from the original on 2 May 2015. Retrieved 27 February 2019.
444. ^ “10-Day London Fest Films Preems Oct. 16”. Variety. 9 October 1957. p. 14 – via Archive.org.
445. ^ Brooke, Michael. “School for Scoundrels (1959)”. Screenonline. British Film Institute. Archived from the original on 13 February 2013. Retrieved 12 May 2013.
446. ^ Jump up to:^a b Tim O’Sullivan, “Dearden, Basil (1911-1971)” Archived 19 October 2019 at the Wayback Machine, BFI screenonline, citing the Reference Guide to British and Irish Film Directors.
447. ^ Carl Daniels, “Pool of London (1950)” Archived 22 October 2019 at the Wayback Machine, BFI screenonline.
448. ^ Ann Ogidi, “Sapphire (1959)” Archived 23 September 2012 at the Wayback Machine, BFI screenonline.
449. ^ Mark Duguid, “Victim (1961)” Archived 6 October 2012 at the Wayback Machine, BFI screenonline.
450. ^ See also David Thomson A New Biographical Dictionary of Film, London: Little, Brown, 2002, p. 213, and (for a defence) Brian McFarlane (ed.), The Encyclopedia of British Film, 2003, London: Methuen/BFI, p. 168.
451. ^ “The 100 Best British Films Ever” Archived 23 July 2015 at the Wayback Machine. Empire. Retrieved 5 January 2013
452. ^ Harris, Derek (5 September 1974). “The film industry seeks another reprieve”. The Times. p. 19.
453. ^ “BFI Screenonline: Channel 4 and Film”. Archived from the original on 29 October 2019. Retrieved 15 January 2012.
454. ^ “AMC CINEMAS® BRINGS THE MULTIPLEX TO THE UNITED KINGDOM”. Archived from the original on 4 January 2015. Retrieved 3 January 2015.
455. ^ Hoad, Phil (11 November 2010). “How multiplex cinemas saved the British film industry 25 years ago”. The Guardian. Archived from the original on 6 May 2020. Retrieved 2 April 2020.
456. ^ Michael Brooks, “HandMade Films” Archived 11 January 2013 at the Wayback Machine, BFI screenonline.
457. ^ “BFI Screenonline: Puttnam, Lord David”. Archived from the original on 26 July 2013. Retrieved 15 January 2012.
458. ^ “This week’s new theatre and dance” Archived 14 March 2016 at the Wayback Machine. The Guardian. Retrieved 19 July 2012.
459. ^ Stern, Marlow, and in 1985 we saw the retirement of Roger Moore from the role of Bond after A View to a kill,at the age of 58.“Gary Oldman Talks ‘Tinker, Tailor, Soldier, Spy,’ ‘Batman’ Retirement” Archived 31 October 2014 at the Wayback Machine. The Daily Beast. 8 December 2011. Retrieved 10 December 2013.
460. ^ Dyja, Eddie (ed.); ‘BFI Film and Television Handbook 1999’, London: BFI, 1998; p. 42.
461. ^ Watson, Neil, “Hollywood UK”, in British Cinema of the 90s, London: BFI Publishing, 2000, p. 82.
462. ^ Watson, “Hollywood UK”, p. 83.
463. ^ “£200m film studio boost for UK”. The Independent. 7 November 1995. Archived from the original on 19 November 2012. Retrieved 29 June 2012.
464. ^ “Studio Tour Casts Spells Just Like Harry”. The New York Times. 29 March 2012. Archived from the original on 23 May 2012. Retrieved 29 June 2012.
465. ^ Peter Bradshaw (6 January 2006). “Match Point”. The Guardian. Archived from the original on 16 March 2014. Retrieved 29 June 2012.
466. ^ “London Calling, With Luck, Lust and Ambition”. The New York Times. 28 December 2005. Archived from the original on 18 July 2012. Retrieved 29 June 2012.
467. ^ “Warner Bros buys Harry Potter studios in £100m boost for UK films”. The Guardian. 9 November 2010. Archived from the original on 18 November 2022. Retrieved 18 November 2011.
468. ^ “Warner to purchase and invest £100 million in film studio”. Reuters. 8 November 2010. Retrieved 18 November 2011.^{[dead link]}
469. ^ Ben Beaumont-Thomas, “Only a small fraction of British films turn a profit, BFI study finds” Archived 3 January 2017 at the Wayback Machine, The Guardian, 3 December 2013.
470. ^ “People Index – Actors: Total Gross”. Box Office Mojo. Archived from the original on 27 June 2019. Retrieved 6 May 2019.
471. ^ “British film industry will suffer if the Government closes the UK Film Council” Archived 26 February 2017 at the Wayback Machine, 5 August 2010.
472. ^ “Daniel Barber condemns UK Film Council abolition” Archived 23 July 2012 at the Wayback Machine, 29 July 2010
473. ^ “Clint Eastwood writes plea to save UK Film Council”. BBC News Online. 9 August 2010. Archived from the original on 26 January 2011.
474. ^ Shoard, Catherine (9 August 2010). “Clint Eastwood joins fight to save UK Film Council”. The Guardian. Archived from the original on 22 September 2016. Retrieved 11 December 2016.
475. ^ Online campaign to save the UK Film Council Archived 23 July 2012 at the Wayback Machine, 27 July 2010.
476. ^ child, Ben (11 August 2010). “Michael Winner berates UK Film Council supporters”. The Guardian. Archived from the original on 7 March 2016. Retrieved 11 December 2016.
477. ^ Fellowes, Julian (12 August 2010). “Cut the Film Council and end this 1970s navel-gazing”. The Telegraph. Archived from the original on 12 January 2022.
478. ^ Clarke, Donald (20 August 2010). “Pros and cons of dumping UK film council”. Irish Times. Archived from the original on 21 October 2012. Retrieved 23 August 2012.
479. ^ Ben Child, “Fade out from the UK Film Council … to the British Film Institute” Archived 1 December 2016 at the Wayback Machine, The Guardian, 1 April 2011.
480. ^ Geoffrey Macnab, “King’s Speech: BFI gets king’s ransom?” Archived 20 July 2014 at the Wayback Machine Screen Daily, 24 February 2011.
481. ^ “Christopher Nolan on ‘Interstellar’ Critics, Making Original Films and Shunning Cellphones and Email (Q&A)”. The Hollywood Reporter. 3 January 2015. Archived from the original on 17 January 2018. Retrieved 5 May 2020.
482. ^ “Warner Bros opens revamped UK film studio”. BBC. 12 June 2012. Archived from the original on 25 June 2012. Retrieved 2 July 2012.
483. ^ Statistical Yearbook 2011: 7.3 UK directors Archived 15 June 2012 at the Wayback Machine. UK Film Council. Retrieved 19 July 2012.
484. ^ “PM backs ‘dynamic and entrepreneurial’ UK film industry”. Number 10. 11 January 2012. Archived from the original on 30 October 2012. Retrieved 23 August 2012.
485. ^ Hines, Dominique (7 November 2022). “‘I am not sure we are great film-makers,’ Danny Boyle slams the British film industry”. Yahoo News. Yahoo. Archived from the original on 30 November 2022. Retrieved 1 December 2022.
486. ^ “Official 2022 statistics reveal a record £6.27 billion film and high-end television production spend in the UK”. BFI. 2 February 2023. Archived from the original on 30 June 2024. Retrieved 30 June 2024.
487. ^ “Hollywood strikes: UK film industry workers hit by US dispute”. BBC News. 25 September 2023. Archived from the original on 19 June 2024. Retrieved 30 June 2024.
488. ^ Nick Roddick, “Tim Webber: the man who put Sandra Bullock in space” Archived 22 January 2014 at the Wayback Machine, Evening Standard, 17 September 2013. Retrieved 17 January 2014.