Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

The Impresario in British Cinema: Bernard Delfont at EMI

View through CrossRef
The article argues that Bernard Delfont played a significant role in the development of the British film industry in the 1970s as head of EMI's entertainment division that included film. In contradistinction to existing accounts, it is contended that Delfont provided dynamic leadership to the corporation's policies through the skills and knowledge he had developed as a highly successful theatrical impresario, even if he lacked a detailed understanding of the film industry. Delfont made a series of bold choices. The first was to appoint Bryan Forbes as Head of Film Production in an imaginative attempt to revitalise the British film industry using indigenous resources and talent. The commercial failure of this initiative occasioned Forbes's departure and a more cautious regime under the direction of Nat Cohen. Faced with a rapidly shrinking domestic market, Delfont decided that a thoroughgoing internationalism was the only way to sustain EMI's film business. He sidelined Cohen by appointing two young ‘buccaneers’, Michael Deeley and Barry Spikings in May 1976 to pursue a policy of investing in Hollywood films and producing ‘American’ films financed by British money. This radical strategy was controversial and reconfigured EMI as a ‘supranational’ rather than national film producer. This was intensified by Delfont's boldest move: establishing Associated Film Distributors (AFD) in July 1979, in partnership with his brother Lew Grade's Associated Communication Company, to distribute their companies' films and become a major Hollywood player. Its failure, after only 20 months, coupled with spectacular production losses effectively ended both companies as important film production units. Delfont's career demonstrates the wider significance of the risk-taking impresario in understanding British film as a business enterprise, the importance of the policies and tastes of studio heads and the need to reposition the film industry as part of wider entertainment and leisure provision.
Title: The Impresario in British Cinema: Bernard Delfont at EMI
Description:
The article argues that Bernard Delfont played a significant role in the development of the British film industry in the 1970s as head of EMI's entertainment division that included film.
In contradistinction to existing accounts, it is contended that Delfont provided dynamic leadership to the corporation's policies through the skills and knowledge he had developed as a highly successful theatrical impresario, even if he lacked a detailed understanding of the film industry.
Delfont made a series of bold choices.
The first was to appoint Bryan Forbes as Head of Film Production in an imaginative attempt to revitalise the British film industry using indigenous resources and talent.
The commercial failure of this initiative occasioned Forbes's departure and a more cautious regime under the direction of Nat Cohen.
Faced with a rapidly shrinking domestic market, Delfont decided that a thoroughgoing internationalism was the only way to sustain EMI's film business.
He sidelined Cohen by appointing two young ‘buccaneers’, Michael Deeley and Barry Spikings in May 1976 to pursue a policy of investing in Hollywood films and producing ‘American’ films financed by British money.
This radical strategy was controversial and reconfigured EMI as a ‘supranational’ rather than national film producer.
This was intensified by Delfont's boldest move: establishing Associated Film Distributors (AFD) in July 1979, in partnership with his brother Lew Grade's Associated Communication Company, to distribute their companies' films and become a major Hollywood player.
Its failure, after only 20 months, coupled with spectacular production losses effectively ended both companies as important film production units.
Delfont's career demonstrates the wider significance of the risk-taking impresario in understanding British film as a business enterprise, the importance of the policies and tastes of studio heads and the need to reposition the film industry as part of wider entertainment and leisure provision.

Related Results

The Struggle for History: Lindsay Anderson Teaches Free Cinema
The Struggle for History: Lindsay Anderson Teaches Free Cinema
In spring 1986, Lindsay Anderson appeared in a television programme on British cinema. This was part of a series of three under the heading British Cinema: Personal View, produced ...
From Chinese independent cinema to art cinema: Convergence and divergence
From Chinese independent cinema to art cinema: Convergence and divergence
With the decline of Chinese independent cinema, art cinema has grown at a fast pace since the mid-2010s in China. There has been a convergence as well as a divergence of independen...
Faroese cinema and transnational nation-building
Faroese cinema and transnational nation-building
In addition to providing a brief history of Faroese cinema in a broad perspective, this article examines the juxtaposition of the transnationalism of Nordic cinema and what could b...
The Origin, Practice and Meaning of the Free Cinema Manifesto
The Origin, Practice and Meaning of the Free Cinema Manifesto
In the late 1940s, the independent film quarterly Sequence, which championed a personal, committed cinema, stood for an attitude towards film-making that provided an important basi...
Performing the National? Scottish Cinema in the Time of Indyref
Performing the National? Scottish Cinema in the Time of Indyref
This article examines Scottish cinema during the period 2012–17, assessing the ways in which the nation's constitutional debate, Scottish–English relations and discourses of nation...
Choisir de choisir — croire en ce monde
Choisir de choisir — croire en ce monde
In the philosophy of Pascal and Kierkegaard and the cinema of Bresson and Dreyer, Deleuze finds “a strange thought,” an “extreme moralism that opposes the moral,” and a “faith that...
BBC2 and World Cinema
BBC2 and World Cinema
This article examines the origins of BBC2's reputation as a purveyor of films from around the world, exploring the significance and impact of the strand World Cinema (1965–74) and ...
Women Musicians in British Silent Cinema Prior to 1930
Women Musicians in British Silent Cinema Prior to 1930
Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to ...

Recent Results

The lived religion approach in the sociology of religion and its implications for secular feminist analyses of religion
The lived religion approach in the sociology of religion and its implications for secular feminist analyses of religion
The sociological ‘lived religion’ approach focuses on the experiences of religious individuals in everyday life, whilst also considering the institutional aspects of religion that ...
High-rise living
High-rise living
Andrew Weaving, Interior decoration, September 20, 2004, Gibbs Smith, Publisher...
Bulgaria, mediaeval wall paintings
Bulgaria, mediaeval wall paintings
UNESCO, Bulgarian Mural painting and decoration, 1962, New York Graphic Society...

Back to Top