This definitive reference guide to the film and television year provides more statistical information than any other publication. It is easy to use, up-to-date and covers producers, cinemas, awards, feature film releases and video workshops.

This work examines major box office hits like 'The Full Monty' as well as critically acclaimed films like 'Under the Skin'. It explores the role of distribution and exhibition, the Americanisation of British film culture, Hollywood and Europe, changing representations of sexuality and ethnicity.

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The new edition of The British Cinema Book has been thoroughly revised and updated to provide a comprehensive introduction to the major periods, genres, studios, film-makers and debates in British cinema from the 1890s to the present. The book has five sections, addressing debates and controversies; industry, genre and representation; British cinema 1895-1939; British cinema from World War II to the 1970s, and contemporary British cinema. Within these sections, leading scholars and critics address a wide range of issues and topics, including British cinema as a 'national' cinema; its complex relationship with Hollywood; film censorship; key British genres such as horror, comedy and costume film; the work of directors including Alfred Hitchcock, Anthony Asquith, Alexander Mackendrick, Michael Powell, Lindsay Anderson, Ken Russell and Mike Leigh; studios such as Gainsborough, Ealing, Rank and Gaumont, and recent signs of hope for the British film industry, such as the rebirth of the low-budget British horror picture, and the emergence of a British Asian cinema. Discussions are illustrated with case studies of key films, many of which are new to this edition, including Piccadilly (1929) It Always Rains on Sunday (1947), The Ladykillers (1955), This Sporting Life (1963), The Devils (1971), Withnail and I (1986), Bend it Like Beckham (2002) and Control (2007), and with over 100 images from the BFI's collection. The Editor: Robert Murphy is Professor in Film Studies at De Montfort University and has written and edited a number of books on British cinema, including British Cinema and the Second World War (2000) and Directors in British and Irish Cinema (2006). The contributors: Ian Aitken, Charles Barr, Geoff Brown, William Brown, Stella Bruzzi, Jon Burrows, James Chapman, Steve Chibnall, Pamela Church Gibson, Ian Conrich, Richard Dacre, Raymond Durgnat, Allen Eyles, Christine Geraghty, Christine Gledhill, Kevin Gough-Yates, Sheldon Hall, Benjamin Halligan, Sue Harper, Erik Hedling, Andrew Hill, John Hill, Peter Hutchings, Nick James, Marcia Landy, Barbara Korte, Alan Lovell, Brian McFarlane, Martin McLoone, Andrew Moor, Robert Murphy, Lawrence Napper, Michael O'Pray, Jim Pines, Vincent Porter, Tim Pulleine, Jeffrey Richards, James C. Robertson, Tom Ryall, Justin Smith, Andrew Spicer, Claudia Sternberg, Sarah Street, Melanie Williams and Linda Wood.

This companion reader to Film as Social Practice brings together key writings on contemporary cinema, exploring film as a social and cultural phenomenon.

British Cinema: Past and Present responds to the commercial and critical success of British film in the 1990s. Providing a historical perspective to the contemporary resurgence of British cinema, this unique anthology brings together leading international scholars to investigate the rich diversity of British film production, from the early sound period of the 1930s to the present day. The contributors address: * British Cinema Studies and the concept of national cinema * the distribution and reception of British films in the US and Europe * key genres, movements and cycles of British cinema in the 1940s, 50s and 60s * questions of authorship and agency, with case studies of individual studios, stars, producers and directors * trends in British cinema, from propaganda films of the Second World War to the New Wave and the 'Swinging London' films of the Sixties * the representation of marginalised communities in films such as Trainspotting and The Full Monty * the evolution of social realism from Saturday Night, Sunday Morning to Nil By Mouth * changing approaches to Northern Ireland and the Troubles in films like The Long Good Friday and Alan Clarke's Elephant * contemporary 'art' and 'quality' cinema, from heritage drama to the work of Peter Greenaway, Derek Jarman, Terence Davies and Patrick Keiller.

From a near standing start in the 1970s, the emergence and expansion of an aesthetically and culturally distinctive Scottish cinema proved to be one of the most significant developments within late-twentieth and early twenty-first-century British film culture. Individual Scottish films and filmmakers have attracted notable amounts of critical attention as a result. The New Scottish Cinema, however, is the first book to trace Scottish film culture's industrial, creative and critical evolution in comprehensive detail across a forty-year period. On the one hand, it invites readers to reconsider the known - films such as Shallow Grave, Ratcatcher, The Magdalene Sisters, Young Adam, Red Road and The Last King of Scotland. On the other, it uncovers the overlooked, from the 1980s comedic film makers who followed in the footsteps of Bill Forsyth to the variety of present-day Scottish film making - a body of work that encompasses explorations of multiculturalism, exploitation of the macabre and much else in between.In addition to analysing an eclectic range of films and filmmakers, The New Scottish Cinema also examines the diverse industrial, institutional and cultural contexts which have allowed Scottish film to evolve and grow since the 1970s, and relates these to the images of Scotland which artists have put on screen. In so doing, the book narrates a story of interest to any student of contemporary British film.

In a film business increasingly transnational in its production arrangements and global in its scope, what space is there for culturally English filmmaking? In this groundbreaking book, Andrew Higson demonstrates how a variety of Englishnesses have appeared on screen since 1990, and surveys the genres and production modes that have captured those representations. He looks at the industrial circumstances of the film business in the UK, government film policy and the emergence of the UK Film Council. He examines several contemporary 'English' dramas that embody the transnationalism of contemporary cinema, from 'Notting Hill' to 'The Constant Gardener'. He surveys the array of contemporary fiction that has been re-worked for the big screen, and the pervasive - and successful - Jane Austen adaptation business. Finally, he considers the period's diverse films about the English past, including big-budget, Hollywood-led action-adventure films about medieval heroes, intimate costume dramas of the modern past, such as 'Pride and Prejudice', and films about the very recent past, such as 'This is England'.

This is the first study devoted to the highly significant roles played by France and Britain in the formulation of European audiovisual policy, providing a truly comparative analysis of the contemporary audiovisual scene in the two countries.

Advances in audiovisual technology, most notably the advent of the popular usage of digital technology in the last few years, have altered the face of popular television. Thanks to cable, satellite and now digital technology, television broadcasts can reach an international audience. The reaction from cultural critics has been mixed. As the debate concerning the effects of new telecommunications and audiovisual technology continues unabated, this book examines the underlying hypothesis that collective allegiances are moving away from the national paradigm towards the global/local model and provides a balanced appraisal of the depiction of a select number of group identities on television in Britain and France.