The ‘Cultural Burden’: regional film policy and practice in England

Jack Newsinger

doi:10.1386/jmpr.10.1.39_1

Abstract

This article looks at the development of film policy and practice in the English regions. It asks: how has the ‘territorialization’ of film policy and funding affected regional modes of film production? And further, how is film as a cultural practice manifested in contemporary regional film production? The article is divided into two sections. The first outlines the development of regional film policy and practice from the 1970s, paying particular attention to the model of regional filmmaking that emerged from the film workshop movement and the changes in regional film policy instituted by the New Labour government since 1997. After this broad historical framework has been established, the second section analyzes regional film policy and practice through a case study of the East Midlands region. It is argued that, while ideas concerning cinema as a cultural practice are still present at a rhetorical level, commercial interests have become ascendant in regional film funding policy, restricting the space for creative autonomy that once defined regional production sectors.

Highlights

This paper looks at the development of film policy and practice in the English regions to assess this debate
The first outlines the development of regional film policy and practice from the 1970s paying particular attention to the model for regional filmmaking that emerged from the film workshop movement and the changes in regional film policy instituted by the New Labour government since 1997
Aylett has argued that „in the English regions, as in film policy, we find a series of more or less unaccountable private companies receiving significant amounts of public money and claiming the authority to direct every aspect of film culture.‟ (Aylett 2004: 106) For Michael Channan: Part of the problem is the way that trade interests are organised at the level of civil society, according to a regime that establishes the normal channels of communication with the state apparatus, and, not by accident, limits independent voices to a token presence. (Channan 2004: 110) How have these changes in the ideology, structure and organisation of regional film production funding affected regional modes of film production?

Summary

Introduction

This paper looks at the development of film policy and practice in the English regions to assess this debate. It is argued that while ideas concerning cinema as a cultural practice are still present at a rhetorical level, commercial interests have become ascendant in regional film funding policy, restricting the space for creative autonomy that once defined regional production sectors.

Results

Conclusion