Classics foretold? Contemporaneous and retrospective consecration in the UK film industry

Abstract

Consecration of cultural products occurs both contemporaneously and retrospectively. This paper examines the influence of contemporaneous consecration on retrospective consecration in the UK film industry. We first examine the impact of professional and popular consecration on retrospective consecration using the list of "best films" compiled by the British Film Institute to gauge retrospective consecration. We then examine the impact of international film festivals on retrospective consecration. We show that experts and peers will have a differential effect on the process of retrospective consecration.

Dimensions of Conventionality and Innovation in Film: The Cultural Classification of Blockbusters, Award Winners, and Critics’ Favourites

“…The United States has a large film production with a strong focus on (the export of) commercial films (Hollywood). While not as successful as the US, the British film industry is rather successful in producing films that can cross borders but still undergoes a lot of influence of Hollywood (Heise and Tudor, 2007;Lampel and Nadavulakereb, 2009). France has, within Europe, a relatively large and successful film industry -also because of the protective cultural policies of the This study concerns feature films that the Motion Pictures Association of America has declared rated PG-13, NC-17, or R ii and that have been released in theatres in the relevant countries.…”

“…film reviews) and professional recognition by peers (e.g. film awards) (Lampel and Nadavulakereb, 2009;Schmutz, 2005). There is no clear-cut distinction, however, as was shown by analysis of how films get retrospectively consecrated (Allen and Lincoln, 2004): various institutions in the American film field seem to award merit to the same films or filmmakers whereas their respective positions in the field suggest a differentiation of classifications.…”

“…film reviews) and professional recognition by peers (e.g. film awards) (Lampel and Nadavulakereb, 2009; Schmutz, 2005).…”

Logic combination and performance across occupational communities: The case of French film directors

“…In line with the artistic (directing) logic, ArtisticPerformance takes the value of one when the movie received an award (Oscar, Cesar, and Cannes) and zero otherwise (e.g., Ginsburgh and Weyers, 1999;Hadida, 2013). The US (Oscar) and French (Cesar) Academy Awards represent the two most important indicators of professional (peer) consecration worldwide and in France, respectively (Lampel and Nadavulakere, 2009). The Cannes International Film Festival confers global "expert selection" (Wijnberg and Gemser, 2000;Elsaesser, 2005;Lampel and Nadavulakere, 2009), and is particularly visible in France.…”

“…The US (Oscar) and French (Cesar) Academy Awards represent the two most important indicators of professional (peer) consecration worldwide and in France, respectively (Lampel and Nadavulakere, 2009). The Cannes International Film Festival confers global "expert selection" (Wijnberg and Gemser, 2000;Elsaesser, 2005;Lampel and Nadavulakere, 2009), and is particularly visible in France. Results are similar when using only the awards received by directors (DirectorAward) and without counting Oscars or Cannes in ArtisticPerformance.…”