Lindsay Anderson: Britishness and national cinemas
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Published Version
Date
2011
Authors
Gourdin-Sangouard, Isabelle
Journal Title
Journal ISSN
Volume Title
Publisher
Film and Screen Media, University College Cork
Published Version
Abstract
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.
Description
Keywords
Lindsay Anderson , British film , National identity , National cinema , Transnational artist , Documentary film
Citation
Gourdin-Sangouard, I. (2011) 'Lindsay Anderson: Britishness and national cinemas', Alphaville: Journal of Film and Screen Media, 1 (Summer 2011). https://doi.org/10.33178/alpha.1.04