Titlebook: EMI Films and the Limits of British Cinema; Paul Moody Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Transnational cinema

串通

Introduction,ure as a transnational company. This chapter concludes with the broader question ‘where does “national” cinema end and “transnational” cinema begin?’, and therefore ‘what are the limits of British cinema’?

MONY

Vulvodynia

All the Way Up, . and ., this chapter argues that Cohen’s funding enabled Hammer to produce some of its more challenging genre films such as ., and much?of its non-horror output, like . and ., which connected with many of the key political concerns of the early 1970s.

滔滔不絕地說

Conclusion,to reclaim EMI as part of a British filmmaking tradition. Ultimately, the history of EMI Films demonstrates that the limits of British cinema are more flexible and permeable than previous?authors have suggested.

SOB

s return to more parochial films afterwards suggested that he was yesterday’s man, and the disastrous failure of ., which was abandoned halfway through production, is analysed at the end of the chapter as the moment when Cohen’s Midas touch finally leaves him.

Pigeon