Richard Farmer is Lecturer in Film and Media at the University of East Anglia. He has published widely on British cinema and is the author of two monographs: The Food Companions: Cinema and Consumption in Wartime Britain, 1939-45 (2011) and Cinemas and Cinemagoing in Wartime Britain, 1939-45: The Utility Dream Palace (2016). Laura Mayne is a Lecturer in Film and Media at the University of Hull Duncan Petrie is Professor of Film at the University of York. His publications include Creativity and Constraint in the British Film Industry (1991), The British Cinematographer (1996), Screening Scotland (2000), Contemporary Scottish Fictions (2004), Shot in New Zealand (2007) and Educating Film-Makers (2014). Melanie Williams is Reader in Film and Television Studies at the University of East Anglia. Her publications include the monographs David Lean (2014) and Female Stars of British Cinema (2017) and the co-edited collections British Women’s Cinema (2009) and Ealing Revisited (2012).

Scholarly and authoritative, yet lucid and intelligible, this is a timely new assessment of British cinema's most vibrant decade. The authors' collective approach provides valuable insights which demonstrate there was much more to 60s film culture than the Beatles and Bond.　Undoubtedly one of the most important contributions to British cinema history of recent times.

• Introduction, Duncan Petrie and Melanie WilliamsPART ONE: STRUCTURES AND COMPANIESChapter 1: Distribution and Production: The British Majors, Duncan PetrieChapter 2: American Involvement in UK Production, Duncan PetrieChapter 3: Public Support in a Changing Climate, Duncan PetrieChapter 4: The Vertically Integrated Independent, Laura MayneChapter 5: Low Budget Independent Production, Laura MaynePART TWO: CREATIVE AGENCYChapter 6: Screenwriting, Melanie WilliamsChapter 7: Directing, Melanie WilliamsChapter 8: Production Design, Melanie WilliamsChapter 9: Costume Design, Melanie WilliamsChapter 10: Cinematography, Duncan Petrie and Melanie WilliamsChapter 11: Editing, Melanie WilliamsPART THREE: MEDIA CONVERGENCEChapter 12: Film and Television, Richard FarmerChapter 13: Film and TV Advertising, Richard FarmerChapter 14: Film and Pop Music, Richard FarmerConclusionAppendixBibliography

Richard Farmer is Lecturer in Film and Media at the University of East Anglia. He has published widely on British cinema and is the author of two monographs: The Food Companions: Cinema and Consumption in Wartime Britain, 1939-45 (2011) and Cinemas and Cinemagoing in Wartime Britain, 1939-45: The Utility Dream Palace (2016). Laura Mayne is a Lecturer in Film and Media at the University of Hull Duncan Petrie is Professor of Film at the University of York. His publications include Creativity and Constraint in the British Film Industry (1991), The British Cinematographer (1996), Screening Scotland (2000), Contemporary Scottish Fictions (2004), Shot in New Zealand (2007) and Educating Film-Makers (2014). Melanie Williams is Reader in Film and Television Studies at the University of East Anglia. Her publications include the monographs David Lean (2014) and Female Stars of British Cinema (2017) and the co-edited collections British Women’s Cinema (2009) and Ealing Revisited (2012).

Scholarly and authoritative, yet lucid and intelligible, this is a timely new assessment of British cinema's most vibrant decade. The authors' collective approach provides valuable insights which demonstrate there was much more to 60s film culture than the Beatles and Bond.　Undoubtedly one of the most important contributions to British cinema history of recent times.

• Introduction, Duncan Petrie and Melanie WilliamsPART ONE: STRUCTURES AND COMPANIESChapter 1: Distribution and Production: The British Majors, Duncan PetrieChapter 2: American Involvement in UK Production, Duncan PetrieChapter 3: Public Support in a Changing Climate, Duncan PetrieChapter 4: The Vertically Integrated Independent, Laura MayneChapter 5: Low Budget Independent Production, Laura MaynePART TWO: CREATIVE AGENCYChapter 6: Screenwriting, Melanie WilliamsChapter 7: Directing, Melanie WilliamsChapter 8: Production Design, Melanie WilliamsChapter 9: Costume Design, Melanie WilliamsChapter 10: Cinematography, Duncan Petrie and Melanie WilliamsChapter 11: Editing, Melanie WilliamsPART THREE: MEDIA CONVERGENCEChapter 12: Film and Television, Richard FarmerChapter 13: Film and TV Advertising, Richard FarmerChapter 14: Film and Pop Music, Richard FarmerConclusionAppendixBibliography

Richard Farmer is Lecturer in Film and Media at the University of East Anglia. He has published widely on British cinema and is the author of two monographs: The Food Companions: Cinema and Consumption in Wartime Britain, 1939-45 (2011) and Cinemas and Cinemagoing in Wartime Britain, 1939-45: The Utility Dream Palace (2016). Laura Mayne is a Lecturer in Film and Media at the University of Hull Duncan Petrie is Professor of Film at the University of York. His publications include Creativity and Constraint in the British Film Industry (1991), The British Cinematographer (1996), Screening Scotland (2000), Contemporary Scottish Fictions (2004), Shot in New Zealand (2007) and Educating Film-Makers (2014). Melanie Williams is Reader in Film and Television Studies at the University of East Anglia. Her publications include the monographs David Lean (2014) and Female Stars of British Cinema (2017) and the co-edited collections British Women’s Cinema (2009) and Ealing Revisited (2012).

Scholarly and authoritative, yet lucid and intelligible, this is a timely new assessment of British cinema's most vibrant decade. The authors' collective approach provides valuable insights which demonstrate there was much more to 60s film culture than the Beatles and Bond.　Undoubtedly one of the most important contributions to British cinema history of recent times.

• Introduction, Duncan Petrie and Melanie WilliamsPART ONE: STRUCTURES AND COMPANIESChapter 1: Distribution and Production: The British Majors, Duncan PetrieChapter 2: American Involvement in UK Production, Duncan PetrieChapter 3: Public Support in a Changing Climate, Duncan PetrieChapter 4: The Vertically Integrated Independent, Laura MayneChapter 5: Low Budget Independent Production, Laura MaynePART TWO: CREATIVE AGENCYChapter 6: Screenwriting, Melanie WilliamsChapter 7: Directing, Melanie WilliamsChapter 8: Production Design, Melanie WilliamsChapter 9: Costume Design, Melanie WilliamsChapter 10: Cinematography, Duncan Petrie and Melanie WilliamsChapter 11: Editing, Melanie WilliamsPART THREE: MEDIA CONVERGENCEChapter 12: Film and Television, Richard FarmerChapter 13: Film and TV Advertising, Richard FarmerChapter 14: Film and Pop Music, Richard FarmerConclusionAppendixBibliography