Pinewood: Anatomy of a Film Studio in Post-war Britain

Research output: Book/ReportAuthored book

Abstract

This open access book examines how Pinewood came to be Britain’s dominant film studio complex, focusing on key years following the Second World War. It presents a revisionist, micro history of the studio and its longevity during a particularly turbulentperiod, explaining Pinewood’s survival at a time when other major film studios such as Denham closed. This book also provides contemporary insights into how Pinewood’s technologies, practices, and filmmaking methods compared to Hollywood’s. Thirteen films produced in1946–47 are analysed in detail, tracking how economic pressures engendered many creative techniques and innovative technologies. Prevailing cultures of management and labour organization are foregrounded, as well as insights into being a studio employee. These are vividly brought to life through an in-depthfocus on the in-house studio magazine Pinewood Merry-Go-Round, which provides rare details of sports and leisure activities organized at the studios.
Original languageEnglish
Place of PublicationCham, Switzerland
PublisherPalgrave Macmillan
ISBN (Electronic)9783031513077
ISBN (Print)9783031513091, 9783031513091
DOIs
Publication statusPublished - 12 Mar 2024

Bibliographical note

This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and inno vation programme (grant agreement No. 832346—STUDIOTEC). I would like to thank my STUDIOTEC colleagues for their innumerable insights into and enthusiasm for research into film studios in Britain, France, Germany, and Italy. Richard Farmer read the manuscript and offered many useful comments. My research into Pinewood involved consulting archives at the British Film Institute Special Collections, the National Archives, and the British Library. I would also like to thank Geoffrey Macnab for sharing some research materials on Pinewood. There is always more to say about a studio with a history as rich and long as Pinewood, but I am grateful to Palgrave/Macmillan for their ‘Pivot’ model which enabled me to tackle this particularly intriguing chapter.

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