Pinter, Authorship and Entrepreneurship In 1960S British Cinema: The Economics of The Quiller Memorandum.
This article uses primary sources to evaluate how Harold Pinter's screenwriting for the film The Quiller Memorandum (1966) operated in the business context of film production in Britain. In the mid-1960s, British cinema both claimed forms of national distinctiveness and also sought internationalizat...
| Publicado en: | Historical Journal of Film, Radio & Television Vol. 40; no. 3; pp. 533 - 551 |
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| Formato: | Film/TV Criticism and Review |
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Taylor & Francis Ltd
Sep2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=145471199&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 145471199 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01439685 HFT jtl: Historical Journal of Film, Radio & Television issn: 01439685 maglogo: N pubinfo: dt: Sep2020 vid: 40 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 145471199 10.1080/01439685.2020.1778316 ppf: 533 ppct: 18 formats: fmt: @attributes: type: P size: 236KB tig: atl: Pinter, Authorship and Entrepreneurship In 1960S British Cinema: The Economics of The Quiller Memorandum. aug: au: Bignell, Jonathan su: Pinter, Harold, 1930-2008 Entrepreneurship Quiller Memorandum, The (Film) Investors Financial risk sug: subj: Pinter, Harold, 1930-2008 Entrepreneurship Quiller Memorandum, The (Film) Investors Financial risk ab: This article uses primary sources to evaluate how Harold Pinter's screenwriting for the film The Quiller Memorandum (1966) operated in the business context of film production in Britain. In the mid-1960s, British cinema both claimed forms of national distinctiveness and also sought internationalization by drawing on financial and creative resources from both continental Europe and the USA. The Pinter 'brand', choices of cast and production personnel, and links with the ascendant spy genre of the period are argued to be aspects of a business risk reduction strategy, mitigating against such risks as working on location in Berlin and expectations set from a distance by US investors, leading to the constant requirement for budgetary management during production. These forces can be regarded as interactions between the film production company as an entrepreneurial organization, the contingent role of brands as repositories of value, and the relatively stable structures of corporate investment by large firms like Rank in the UK and National General Productions in the USA. The article draws on materials in the British Library's Pinter Archive and the Film Finances Archive. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Historical Journal of Film, Radio & Television is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Historical Journal of Film, Radio & Television holder: Taylor & Francis Ltd dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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