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Barry Keith Grant's book, "100 American Horror Films," explores the enduring presence of the horror genre throughout film history. The book features a selection of one hundred American horror films spanning from the 1910s to 2019, including notable examples such as "Colour out of Space," "Midsommar," and "The Wind." Grant's introduction defines the genre as addressing universal fears while also responding to historically and culturally specific anxieties. Each film entry in the book provides a concise summary of the plot, credits, an image from the film, and insights into its significance within the horror genre and its historical-cultural context. While some readers may disagree with certain omissions, the book offers a comprehensive overview of American horror films. Additionally, Anne Billson's book, "The Thing," provides an authoritative analysis of the film's subversive and uncompromising approach to horror. Both books serve as valuable resources for those interested in exploring the genre further. [Extracted from the article]

Thus each chapter addresses a different aspect of cinema going memories. The intention of this project was to extend knowledge of cinema history with an emphasis on how films were received and the social experience of cinema going. The six chapters clearly set out different aspects of the 1960s cinema going experience- social experiences, sex and cinema going, the experience of watching American films and British films, European films, and postcolonial audiences. [Extracted from the article]

This paper explores the interactions and cooperation between public-sector, business-sector, and civil-society stakeholders in developing British film policy for educational and cultural purposes. In particular, this paper adopts the Advocacy Coalition Framework to explain why and how public authorities, film industry organizations, and educationalists efficiently communicated and cooperated with each other in making the British Film Institute. By doing that, this paper explains (1) how commercial business and social workers, who were initially hostile, could build constructive partnerships; (2) how inactive, noninterventionist governments could be involved in the policymaking for cultural sectors; and (3) how private business could be persuaded into supporting cultural and educational policy for noncommercial purposes. [ABSTRACT FROM AUTHOR]

This paper examines how Amber Film and Photography Collective's working-class affiliations and Berwick Street Film Collective's middle-class makeup shaped their divergent approaches to depicting 'working-class issues' by drawing on the films of both collectives, alongside archival materials and oral testimonies. By engaging in a comparative reading, I highlight the breadth of Amber's oeuvre, tracing the development of their filmmaking strategies--which included agitprop, the fusion of factual and fictional formal elements and transnational collaboration with the German Democratic Republic's film production company, Deutsche Film-Aktiengesellschaft (DEFA)--to demonstrate that, contrary to criticisms levelled by contemporary theorists clustered around Screen magazine and the British Film Institute, Amber transcended the constraints of Documentary Realism by incorporating radical avant-garde aesthetics into their oppositional practice. Concomitantly, Amber's radical filmmaking is positioned as relative to its members' working-class solidarities, with their concern for championing working-class cultures contrasted with Berwick Street's broader political agendas. Through foregrounding this politics/culture dialectic, the practical repercussions of Berwick Street's middle-class representation of 'working-class interests' are investigated while the theoretical criteria by which avant-garde depictions of 'working-class issues' are evaluated are themselves assessed. [ABSTRACT FROM AUTHOR]

This article concentrates on the establishment and curation of the BFI Gallery at BFI Southbank (2007–2011), where the core, audience-facing cultural offer was extended to include contemporary artists' moving image installations. It considers the conditions that led the British Film Institute to favour commissioning over displaying, and the curatorial model of the temporary gallery commission over that of the collection-based film museum that had previously characterised the institution. The article discusses the critical and practical issues that affect the conceptualisation of the the BFI Gallery, such as the economic and political decisions of the day and the habitus of institutional management. To analyse the underlying mechanisms that triggered the changes of curatorial policies observed, consideration is given to the role of individual curators with a visual art background, who, from the early 2000s, reached the senior and executive levels of the BFI, an organisation previously led by cinema experts. The analysis uses the author's empirical experience as BFI curator to provide insight into the hidden cultural dynamics that generate the meaning of the work of art, with specific attention to curatorial moving image practices. [ABSTRACT FROM AUTHOR]

This article looks at the thirty-year history of the Dinard Film Festival (until 2018, the Dinard Festival of British Film), with a particular focus on the financial support provided by bodies with industrial and/or cultural remits: specifically, the UK Film Council, the British Council and the British Film Institute. As I discuss, Dinard is a significant case study for understanding the British film-industrial relationship with France, but also for analysing the interrelationship between economic and cultural policy-making in the British film industry. As I also argue, looking at the history of the Dinard festival offers a significant example of the ways such showcases for 'national cinema' are bound up with the shifting contexts of film-industry policymaking. As I conclude, the changing economic fortunes in British film, and the economic contexts informing UK film policy, have not only impacted on Dinard, but also given the festival a renewed outlook – as well as a more political one in the recent contexts of the UK's EU referendum and 'Brexit'. [ABSTRACT FROM AUTHOR]

This article explores the possibilities offered to researchers by the film holdings which can be found in archives that exist outside of the more conventional, subject-specific film archives in the UK such as those held by the British Film Institute. The Marks and Spencer Company Archive exists principally to hold the company records and related materials illustrating the history of one of the UK's most successful and long-established high-street retailers. Although their film holdings are extensive, these materials are somewhat tangential to the main collection and might not be a source that has been recognised to date by film scholars. Such collections also exist in a number of other commercial organisations, as well as public sector ones. The article details the holdings, arranging them into significant groupings, and analyses their style and content with particular attention to their potential status as both history on film and as film form. In doing so, it posits the opportunity to consider further exploration of film holdings normally thought of as outside film scholarship, and the value of more utilitarian forms of film-making than those usually found in entertainment or art cinema. [ABSTRACT FROM AUTHOR]