Pop culture in the 20th century: Cinema, radio, TV

Question 1

Between 1918-1945, how many cinema tickets were sold per week?

Answer 1

A central leisure activity to many, 18M-19M tickets were sold each week. At a time of economic uncertainty, it was a luxury escape for all classes due to its affordability.

Question 2

What legislation gave the British cinema/film industry a huge boost?

Answer 2

Films Act of 1927: ensured at least 7.5% of films shown in Brit cinema were Brit made and not US-made. Rose to 20% in 1935. Sadly this lessened the quality of films- some made in rush (“quota-quickies”)

Question 3

How did the role of cinema change during WW2?

Answer 3

Became vehicle for soft propaganda, made to boost morale. Films reflecting patriotism were v. popular eg Noel Coward’s ‘In Which We Serve’ and Laurence Olivier’s version of ‘Henry V’.

Question 4

What was the highest morale-boosting film of WW2?

Answer 4

‘Let George Do It’ where comedian George Formby smacked Hitler in the face.

Question 5

What gradually lessened the popularity of cinema after WW2?

Answer 5

Popularity of TV. TV broadcasts had been possible since 30s but TV sets were too dear for most; price dropped in 40s and culturally TV became more a part of Brit life.

Question 6

How much did cinema attendance fall after WW2?

Answer 6

1947: 1.4M weekly
1959: 800K

Question 7

Did the decline of cinema last throughout the post-war years?

Answer 7

During 50s and 60s, Brit film remained culturally and artistically relevant eg no. notable comedies produced in Ealing (‘Ealing Comedies’) incl ‘Passport to Pimlico’ which satirised austerity after WW2.

Question 8

What style of film became popular in the 1960s?

Answer 8

Social Realism, which portrayed the hard life and changing roles and aspirations of the working class.

Question 9

When did British Cinema suffer its real artistic dip?

Answer 9

W/exception of James Bond films, 1970s. V few Blockbusters made, talent moved to US. Most successful films at this time were soft porn comedies like ‘Confessions of a Window Cleaner’

Question 10

‘In Which We Serve’ 1944

Answer 10

• Made by govt in year of D-Day- patriotism=essential

- Govt needed to develop collectivist society

Question 11

‘Passport to Pimlico’ 1948

Answer 11

• Mocked continuation of wartime measures/austerity after WW2
• Start of satire bills

Question 12

‘I’m Alright Jack’ 1959

Answer 12

• Reflects unreasonable behaviour of TUs/TU disputes
• Satire Boom- reflects less deferential attitudes, cooperation w/TUs (PWC)
• Class warfare- satirises every class, aggressive TUs, ppl who get certain jobs due to their class

Question 13

‘Saturday Night and Sunday Morning’ 1960

Answer 13

• Adaptation from popular book of 60s
• Reflects consumerism, desire for more
• “Teddy Boy” Culture
• Albert Finney, emerging Brit heart throb actor of 60s
• Origins of ‘Social Realism’- films reflect harsh reality

Question 14

‘Kes’ 1970

Answer 14

• Ken Loach, renowned director of Social Realism films
• Set in NE England, reflects regional divide
• Inequalities of education system- implied criticism of grammar schools as Billy crushed by Sec Modern
• Kestrel symbolises Billy’s desire for freedom + control
• Brother snapps Kes’ neck at end; reflects bleak society

Question 15

‘Confessions of a Window Cleaner’ 1974

Answer 15

• 3 day week, oil crisis, massive TV disruption- small budget, poor economy leads to poor production
• Declining cinema audiences since 30s led to bad choice of films; escapist, ridiculous
• Permissive society (Obscene Publication Act 1959 + amendments)

Question 16

How important was film as a means of escapism for the unemployed in the 1930s?

Answer 16

• 1931 Study showed the jobless tended to watch films on avg 2.6 times/week, usually daytime shows due to cheaper tickets.
• Glasgow: 80% of jobless saw film once a week during Depression

Question 17

How much did cinema contribute to the economy in the 1930s?

Answer 17

Most popular form of entertainment in 30s:

• 1937-1939: Provided over 50% of all tax revenues on entertainment
• 1937: cinema ticket tax rev - 5.6M vs football ticket tax rev- £470k
• 1938: 978M admissions to cinema

Question 18

What types of films were produced in Britain in the interwar years?

Answer 18

• Entertainment and escapism: romances, thrillers, crime dramas, history pictures
• Clear social commentary eg ‘The Pleasure Garden’ 1925 by Alfred Hitchcock, ‘The Firstborn’ 1928
• Exploring working life, ambition, and daily experience of modern urban world.

Question 19

‘London Love’ (silent film) 1926

Answer 19

• Empowered female protagonist
• Heroine Sally Hope becomes famous film star to raise money to pay legal fees for her fiance, falsely accused of a crime and dependent on her to help him.

Question 20

‘The Great Game’ 1930

Answer 20

One of earliest talking films to use sport as main plot line. Reflected centrality of football in many working class lives as a football club contemplates if they should take in pro players or stick w/local amateur team.

Question 21

‘Love on Wheels’ 1932 (Musical)

Answer 21

Bus conductor helps commuter to find love w/anon female passenger. In the course of his romantic courtship hero also finds himself w/dream job in advertising, highly aspirational role in time of growing consumerism.

Question 22

Bond Franchise (est 1962)

Answer 22

Reflect improving living standards of 60s. Connery’s 007 enjoys dear cars, clothes, drinks, and international travel. Audiences enjoying economic boom could relate to films as exciting spy dramas + aspirational fantasies.

Question 23

‘The Ipcress File’ (1965)

Answer 23

Hero is Harry Palmer, working class Londoner rather than public school Bond played by Michael Caine. Doesn’t lead exciting jetset life, resents upper class bosses who run MI6.

Question 24

What did ‘The Ipcress File’ represent?

Answer 24

Popular egalitarian ideas that were widespread in 60s, w/working class character responsible for the nation’s security, oft denigrating his upper class superiors.

Question 25

What types of films, other than social realism, were produced at the start of the 1970s?

Answer 25

As Britain's economic issues grew, several films reflected fears of a decline in quality of life, presenting dark visions of Brit society, eg 'Get Carter' and 'A Clockwork Orange'. Reality was standards of living continued to rise thru 70s.

Question 26

'Get Carter' (1971)

Answer 26

- Michael Caine portrays gangster seeking revenge for his bro's death - Much darker/more pessimistic in tone than other crime dramas of 60s - Relaxing of film censorship meant it could include scenes of prostitution.

Question 27

How did 'Get Carter' present British society?

Answer 27

Bleak portrayal of Britain as a seedy and corrupted place reflected popular concerns over quality of life in early 70s. Film's screenwriter Michael Hodges wrote it to be a 'crime story as an autopsy of society's ills'.

Question 28

'A Clockwork Orange' (1971)

Answer 28

- Directed by Stanley Kubrick | - Vision of future Britain where gangs of violent young men kill and rape for fun.

Question 29

How was 'A Clockwork Orange' (1971) received?

Answer 29

Many viewers found the graphic scenes of violence shocking. Violent crime gradually grew thru 60s, film mirrored many popular anxieties about 'hooliganism', lawlessness.

Question 30

How long was 'A Clockwork Orange' (1971) in cinemas?

Answer 30

Quickly withdrawn by Kubrick after several violent crimes, incl murder, were blamed on it.

Question 31

During the interwar period, how was radio as a medium viewed?

Answer 31

Immediately post-WW1, govt suspicious of possibility of public radio service that could transmit info to the public. Fears of chance of revolution or gen strike made ministers/civil servants apprehensive.

Question 32

1. Who invented modern radio technology? | 2. When did the government warm up to the idea of public radio broadcasting?

Answer 32

1. Guglielmo Marconi 2. Allowed British Broadcasting Company to form in '22. Licensed by the govt so from start the company that'd become the BBC had close relationship w/state.

Question 33

What impact did the close relationship between the British Broadcasting Company and the State have in the types of radio programmes broadcasted?

Answer 33

Meant radio programmes oft reflected values of govt + BBC, not necessarily interests of listener. Thus, BBC broadcasts oft didn't reflect quality of life experienced by many Brits thru 20s and 30s.

Question 34

When did the BBC effectively become a publicly owned state broadcaster?

Answer 34

1927, when it was given a royal charter, although it retained its independence over its editorial content.

Question 35

Who was John Reith?

Answer 35

- 1st director general of the BBC. | - Set out BBC's mission as 'inform, educate and entertain'.

Question 36

Under John Reith's leadership, what types of broadcasts did the BBC make in the 1920s and 1930s?

Answer 36

- 20s/30s broadcast lectures, concerts, programmes thought to be beneficial to ordinary people, improve their understanding of their world- 'give the public slightly better than it thinks it likes.'

Question 37

When did entertainment become more of a priority for radio?

Answer 37

W/advent of US forces radio. Post-war 3 channels, Home Programme, Light Programme, Third Programme, broadcast programmes but by 50s and 60s they began losing ground to pirate radio.

Question 38

Why did Pirate Radio stations crop up?

Answer 38

BBC had only radio license to broadcast in UK; pirate radio stations based on ships moored just outside British territorial waters broadcasting popular programmes.

Question 39

How popular were Pirate Radio stations?

Answer 39

Eg Radio Caroline had audience of 10M Brits by 1964.

Question 40

How did the BBC deal with the Pirate Radio stations?

Answer 40

They didn't: no way of stopping the broadcasts.

Question 41

Why were teenagers a key demographic for radio stations after WW2?

Answer 41

Due to PWC baby boom + growth in affluence, this audience had more disposable wealth than ever b4 so were keenly sought-after market that BBC didn't want to lose. But pirate radio gained huge teen audiences.

Question 42

1. What was the impact of pirate radio? | 2. When did Pirate Radio end?

Answer 42

Forced BBC to reorganise in '67 w/Light, Third, and Home Programmes becoming Radio 2, 3, and 4 respectively and introduction of Radio 1.

Question 43

What was the appeal of Pirate Radio over the BBC?

Answer 43

- BBC had to adhere to Needle Time; pirate radio didn't. | - BBC didn't cater specifically to teens; pirate radio achieved this by playing the latest music.

Question 44

How many hours of music were the BBC allowed to broadcast per day with Needle Time?

Answer 44

- Musician's Union and Phonographic Performance Limited introduced this- worried that too much radio -> no record sales - Until 1967, only 5 hours of music a day.

Question 45

1. When did Pirate Radio end? | 2. What was Radio 1 when it was first introduced?

Answer 45

1. 1967, The Marine Broadcasting Offences Act 2. Focused exclusively on caterint toward youth market w/pop music. Many popular pirate radio DJs were hired by Radio 1, became national celebs eg Tony Blackburn