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oapen-20.500.12657-883582024-03-28T14:02:54Z Pinewood Street, Sarah Pinewood Film history British cinema Film studios Innovation Technology Leisure cultures Labour history Set design thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema thema EDItEUR::A The Arts::AT Performing arts::ATJ Television thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFX Filmmaking and production: technical and background skills This open access book examines how Pinewood came to be Britain’s dominant film studio complex, focusing on key years following the Second World War. It presents a revisionist, micro history of the studio and its longevity during a particularly turbulentperiod, explaining Pinewood’s survival at a time when other major film studios such as Denham closed. This book also provides contemporary insights into how Pinewood’s technologies, practices, and filmmaking methods compared to Hollywood’s. Thirteen films produced in1946–47 are analysed in detail, tracking how economic pressures engendered many creative techniques and innovative technologies. Prevailing cultures of management and labour organization are foregrounded, as well as insights into being a studio employee. These are vividly brought to life through an in-depthfocus on the in-house studio magazine Pinewood Merry-Go-Round, which provides rare details of sports and leisure activities organized at the studios. 2024-03-13T11:11:11Z 2024-03-13T11:11:11Z 2024 book ONIX_20240313_9783031513077_47 9783031513077 9783031513060 https://library.oapen.org/handle/20.500.12657/88358 eng application/pdf n/a 978-3-031-51307-7.pdf https://link.springer.com/978-3-031-51307-7 Springer Nature Palgrave Macmillan 10.1007/978-3-031-51307-7 10.1007/978-3-031-51307-7 6c6992af-b843-4f46-859c-f6e9998e40d5 4b0ecc8f-cee6-41c1-ab2e-269b26065188 9783031513077 9783031513060 Palgrave Macmillan 183 Cham [...] University of Bristol open access
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This open access book examines how Pinewood came to be Britain’s dominant film studio complex, focusing on key years following the Second World War. It presents a revisionist, micro history of the studio and its longevity during a particularly turbulentperiod, explaining Pinewood’s survival at a time when other major film studios such as Denham closed. This book also provides contemporary insights into how Pinewood’s technologies, practices, and filmmaking methods compared to Hollywood’s. Thirteen films produced in1946–47 are analysed in detail, tracking how economic pressures engendered many creative techniques and innovative technologies. Prevailing cultures of management and labour organization are foregrounded, as well as insights into being a studio employee. These are vividly brought to life through an in-depthfocus on the in-house studio magazine Pinewood Merry-Go-Round, which provides rare details of sports and leisure activities organized at the studios.
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