Lindsay Anderson: Britishness and national cinemas
Film Studies, University College Cork
This article will explore three key stages in Lindsay Anderson’s career that illustrate the complex relationship between the director’s negotiation of his own national background and the imposition of a national identity in the critical reception of his work. First, I will look briefly at Anderson’s early directorial career as a documentary filmmaker: by using references to the Free Cinema movement and Thursday’s Children (1953), I will show that, in both instances, the question of artistic impact and critical reception took on a transnational dimension. I will then discuss the production of a documentary short in Poland, which Anderson filmed at the request of the Documentary Studio in Warsaw in 1967, and which constitutes the director’s first experience of working in a foreign film industry. Finally, I will discuss Britannia Hospital (1982), the last feature film that Anderson made in Britain. Throughout the paper, I will also use material from the Lindsay Anderson Archive held at Stirling University.
Lindsay Anderson , British film , National identity , National cinema , Transnational artist , Documentary film
Gourdin-Sangouard, I. (2011) 'Lindsay Anderson: Britishness and national cinemas', Alphaville: Journal of Film and Screen Media, 1 (Summer 2011). doi: 10.33178/alpha.1.04
© 2011, the Author(s)