Abstract
Historians of British cinema have tended to concentrate on mainstream film provision – on those ‘A’ films which dominated production schedules and distribution arrangements. A great deal of revisionist work has been done on major studios and film texts, but Steve Chibnall and Brian McFarlane are at present the only critics to have taken the risk of writing the cultural and economic history of the ‘B’ film. This book follows on from Chibnall's Quota Quickies, which deals with the 1930s and the consequences of the 1927 Cinematograph Films Act.1The British ‘B’ Film begins with World War II and ends in 1965, when legislative changes and industrial conditions put an end to the old structure of film programmes, with their ‘A’ and ‘B’ features and newsreels. It provides a way of answering the question: ‘What was on with all those big-budget movies that dominate our notion of cinema history?’ (p. x). Besides telling us what was provided, it also offers answers to the why, the how and the where.
Published Version
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