24:(BFI) and "explicitly charged with backing work by new and uncommercial filmmakers." Emerging from the Experimental Film Fund, the BFI Production Board was a major source of funding for experimental, art house, animation, short and documentary cinema, with a continuing commitment to funding under-represented voices in filmmaking.
122:'s newly elected Labour government. She increased the BFI's government grant-in-aid, and "insisted that port of it should go to experimental film production and young filmmakers". Increased funding enabled the BFI to professionalise its approach to funding from 1966, under its first production officer
351:
backed projects which seemed too avant-garde for mainstream financiers… The aims of the BFI were laudable, and certainly films were funded which would otherwise have had no chance of reaching the screen, but the
Production Board had a penchant for films with an academic flavour, which displayed their
53:
to chair the selection committee, and the
Experimental Film Fund was created. It received no further funding from the BFI, and offered scant support despite its ambitions. "The first projects considered were in the fields of stereoscopic technology and art documentaries." But this changed through the
258:
After Gavin's resignation and the appointment of Peter
Sainsbury as Head of Production, the Board faced a number of crises: the first concerned Sainsbury's call of a set of explicit selection criteria, which "were frequently the subject of fierce controversy among independent filmmakers"; the second
105:
a fair proportion won major prizes in film festivals around the world and received positive reviews in the national press... Of the fifty or so filmmakers supported, at least 32 went on to work in a variety of jobs in the
British (and occasionally overseas) film and television industries… The fact
32:
At its foundation in the 1930s, the BFI had no mandate to fund film production in the UK. However, the 1948 Radcliffe Report 'create a more favourable climate for potential film production by recommending that the
Institute should focus its activities exclusively on the promotion of film as an art
463:
As well as providing funding for an expansive and internationally-successful
British art house, the Board continued in its remit to fund first-time filmmakers and filmmakers from under-represented communities. The New Directors scheme, initiated in 1986, led to funding for a remarkable range of
398:, which gave the BFI a regular television platform and correspondingly greater exposure for its work. Behind the scenes, C4 also became a significant contributor to Production Board funds in general as well as specific individual works. Other films that benefited from the collaboration included
240:
took over from Hassan as Head of
Production, but resigned fourteen months later. "Yet his short tenure remains one of the most audacious periods in the Board's history", with the production of 12 political documentaries by far-left and feminist film collectives such as the
37:
in 1951, the BFI was allocated funding to produce a cinematic side of the festival, using £10,000 to commission several short experimental films "to be shown in the
Telecinema, a temporary four-hundred seater cinema on the South Bank".
347:(1981) represented the diversity and innovation of Sainsbury's commissioning: they included and challenged both fiction and documentary, and combined social politics with experimental aesthetics. According to Sue Harper, the Board
106:
that the Fund also gave their first chance to seven women filmmakers at a time when creative jobs within the film and TV industries were the almost exclusive property of men was no small achievement either.
139:, had begun under the Experimental Film Fund, and its production was delayed by the transition to the Production Board, and by the inexperience of the production team. Its second featurette
277:, due to economic constraints. Sainsbury made improving this a priority, and "between 1977 and 1979, a dozen new BFI films has a London theatrical release… six of them being bought by the
501:
360:
In 1982, ACTT suspended their agreement with the Board, leading to the ACTT Workshop
Declaration, which created a Board-funded Regional Production Fund, with monies going to the
896:
635:
Dupin, Christophe (2012). "The BFI and film production: Half a century of innovative independent film production". In Nowell-Smith, Geoffrey; Dupin, Christophe (eds.).
394:
became a modest but genuine commercial success. More significantly, it was also the first co-production between the BFI and the newly established
875:
833:
791:
731:
273:(1975), the first full-length documentary funded by the Board; the third concerned the lack of distribution for the Board's films, including
115:
557:
49:, was introduced in December 1951, providing two grants of £12,500 to make experimental films for the Telecinema, the BFI invited producer
644:
101:
Christophe Dupin notes that, despite only having £30,000 in funding for its decade of existence, the film fund had a wide impact:
500:
There was continuity across the change of funding that occurred in 1992 (to the
Department of Heritage, and subsequently the
285:(the film technicians' union) to allow crews to be paid below agreed minimum rates in exchange for a share in the profits".
390:
126:, and grant-winning filmmakers 'were also given access to technical facilities at the BFI Production Board's offices near
400:
281:
for television transmission". Budgets remained low, and in 1979, "the Production Board to strike an agreement with the
214:
185:
took over from Michael Balcon as board chair. Under Hassan and Relph, the Board produced two further films by Douglas,
452:
524:
361:
213:(1974) by Peter K. Smith (the first Asian feature film produced in Britain), but it also provided funding for the
425:
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following earlier New Directors shorts with first features. The Board also produced features such as
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Subsequent international successes for British art house included a Silver Bear at Berlin for
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at Cannes. This win was followed by an announcement at the same festival by culture minister
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78:. The Experimental Film Fund supported Free Cinema films such as Reisz and Richardson's
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50:
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246:
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91:
460:. Alan Burton and Steven Chibnall refer to this period as the Board's "golden age".
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45:, there was no remaining state film funding body in the UK. When a new scheme, the
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In 1972, the Board's funding was increased significantly to £75,000, and producer
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concerned censorship, after the BFI caved to police demands not to screen
245:. He selected few fiction features for production, the most notable being
293:
496:
1992-2000: National Lottery funding and the end of the Production Board
851:
The British Film Institute, the government and film culture, 1933-2000
809:
The British Film Institute, the government and film culture, 1933-2000
749:
The British Film Institute, the government and film culture, 1933-2000
707:
The British Film Institute, the government and film culture, 1933-2000
692:
The British Film Institute, the government and film culture, 1933-2000
677:
The British Film Institute, the government and film culture, 1933-2000
662:
The British Film Institute, the government and film culture, 1933-2000
637:
The British Film Institute, the government and film culture, 1933-2000
20:(1964-2000) was a state-funded film production fund managed by the
173:, a success that secured the reputation and future of the Board.
282:
278:
118:
became Britain's first ever arts minister in 1964, as part of
560:, amalgamating all British film funding agencies into the
111:
1964-71: Foundation and expansion of the Production Board
639:. Manchester: Manchester University Press. p. 197.
573:
380:
1982–91: Partnership with Channel 4 and the "Golden Age"
58:
movement, which included a number of young filmmakers -
825:
Women in British Cinema: Mad, Bad and Dangerous to Know
428:, 1983), the last of which won the Golden Bear at the
74:
who were prominent contributors to the BFI's magazine
608:
606:
604:
602:
600:
98:(1963), the first British film by a black filmmaker.
28:
1952-63: Experimental Film Fund and early productions
255:, the first black feature film produced in the UK.
723:Educating Film-makers: Past, Present and Future
388:1982 saw a major breakthrough when Greenaway's
177:1972-1981: Feature Film and Experimental Cinema
446:and the International Film Critics' Prize for
849:Dupin (2012). "The BFI and film production".
807:Dupin (2012). "The BFI and film production".
747:Dupin (2012). "The BFI and film production".
705:Dupin (2012). "The BFI and film production".
690:Dupin (2012). "The BFI and film production".
675:Dupin (2012). "The BFI and film production".
660:Dupin (2012). "The BFI and film production".
8:
864:Alan Burton; Steve Chibnall (11 July 2013).
720:Duncan Petrie; Rod Stoneman (20 June 2014).
615:"BFI Screenonline: The BFI Production Board"
897:Film organisations in the United Kingdom
867:Historical Dictionary of British Cinema
596:
763:"BFI Screenonline: Black British Film"
217:, and experimental filmmakers such as
384:According to the BFI's Screenonline,
145:(1970) followed on from its director
7:
783:Encyclopedia of the Documentary Film
193:(1978), as well as features such as
33:form'. As part of the plans for the
169:(1971) won the Silver Lion at the
149:'s opportunity to direct a short,
14:
870:. Scarecrow Press. p. 82.
726:. Intellect Books. p. 90.
550:(1999), which won Best Film in
504:Fund), with filmmakers such as
157:commissioned a featurette from
828:. A&C Black. p. 140.
780:Ian Aitken (18 October 2013).
584:imdb.com BFI Production Board
133:The Board's first production,
1:
453:Distant Voices, Still Lives
374:Birmingham Black Film Group
370:Liverpool Black Media Group
362:Sheffield Filmmakers' Co-op
913:
822:Sue Harper (1 June 2000).
786:. Routledge. p. 145.
391:The Draughtsman's Contract
564:from the following year.
243:Berwick Street Collective
215:London Film-Makers' Co-op
41:After the closure of the
366:Leeds Animation Workshop
153:. Beresford's successor
767:www.screenonline.org.uk
574:streaming video player
434:
358:
108:
22:British Film Institute
572:BFI Production Board
386:
349:
334:Riddles of the Sphinx
321:The Song of the Shirt
312:Nocturna Artificialia
103:
582:BFI Production Board
490:Blue Black Permanent
458:Cannes Film Festival
430:Berlin Film Festival
210:A Private Enterprise
171:Venice Film Festival
84:, Lorenza Mazetti's
18:BFI Production Board
354:degree of martyrdom
352:credentials with a
344:Burning an Illusion
35:Festival of Britain
576:BFI Screenonline:
534:Speak Like A Child
471:I'm British But...
159:London Film School
151:One of the Missing
877:978-0-8108-8026-9
835:978-1-4411-3498-1
793:978-1-135-20620-8
733:978-1-78320-185-3
613:Brooke, Michael.
578:They Started Here
553:Un Certain Regard
481:Young Soul Rebels
464:films, including
411:Nineteen Nineteen
96:Ten Bob in Winter
81:Momma Don't Allow
76:Sight & Sound
54:emergence of the
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401:The Gold Diggers
303:A Walk Through H
270:Juvenile Liaison
60:Lindsay Anderson
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515:Sixth Happiness
506:Patrick Keiller
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466:Gurinder Chadha
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339:Menelik Shabazz
299:Peter Greenaway
267:'s documentary
261:Nick Broomfield
219:Stephen Dwoskin
179:
124:Bruce Beresford
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72:Walter Lassally
68:Tony Richardson
43:Crown Film Unit
30:
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568:External links
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525:Under the Skin
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448:Terence Davies
426:Edward Bennett
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291:'s debut film
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618:. Retrieved
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530:Carine Adler
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489:
484:(1991), and
479:
476:Isaac Julien
469:
462:
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441:
438:Derek Jarman
435:
419:
418:, 1985) and
409:
406:Sally Potter
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389:
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383:
359:
350:
342:
337:(1979), and
332:
329:Peter Wollen
325:Laura Mulvey
320:
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305:(1978), the
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268:
257:
250:
238:Barrie Gavin
235:
208:
205:Andrew Mollo
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180:
167:My Childhood
166:
163:Bill Douglas
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134:
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100:
95:
90:(1956), and
85:
79:
40:
31:
17:
15:
586:Filmography
558:Chris Smith
317:Sue Clayton
289:Chris Petit
227:Peter Gidal
191:My Way Home
189:(1974) and
187:My Ain Folk
136:Herostratus
64:Karel Reisz
56:Free Cinema
620:26 January
592:References
443:Caravaggio
421:Ascendancy
416:Hugh Brody
247:Horace Ové
196:Winstanley
147:Tony Scott
116:Jennie Lee
532:, 1997),
522:, 1997),
408:, 1983),
396:Channel 4
236:In 1974,
161:graduate
47:Eady Levy
891:Category
492:(1992).
474:(1989),
372:and the
323:(1979),
315:(1979),
297:(1979),
294:Radio On
275:Pressure
252:Pressure
128:Waterloo
87:Together
456:at the
874:
832:
790:
730:
643:
368:, the
364:, the
70:, and
199:, by
872:ISBN
830:ISBN
788:ISBN
728:ISBN
641:ISBN
622:2015
580:and
508:and
327:and
283:ACTT
263:and
229:and
207:and
203:and
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544:'s
488:'s
478:'s
468:'s
440:'s
341:'s
331:'s
319:'s
301:'s
279:BBC
249:'s
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765:.
599:^
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376:.
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233:.
225:,
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66:,
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