How did New Labour ideology affect British filmmaking during the '90s and naughties?
Up until the New Labour government in 1997, the Conservatives were very anti-protectionist; meaning that if an industry ran into trouble, it was always a ‘sink or swim’ situation. Labour on the other hand, were more concerned with culture, rather than capital. In the sense that they wanted to protect and project British culture, rather than generate income and balance payments.
In the 1985 budget, Thatcher chose to close the ‘Eady Levy’, which was a tax on cinema seats, intended to support the British Film Industry. This was closed due to a majority of the money being given to distributors, rather than producers. Therefore not filling its original purpose. This particular closure proved that Thatcher was more interested in generating as much income from successful industries, and leaving those in struggle to fend for themselves.
New Labour on the other hand, were far greater concerned with protecting these industries. In his 1998 book, Tony Blair stated that ‘The Third way stands for a modernised social democracy… it is a third way because it moves decisively beyond an old left preoccupied by state control… and a new right treating public investment’ By this he meant that the new government were leaving socialism behind and moving into a new state of labourism. Blair managed to show this by removing Clause 4 in 1994, which looked to increase the number of nationalised industries. He did this because he looked for no tension between the state and the individual, and he also wanted more private-public relationships.
Although the lottery funding started in 1995 with £28 million being pumped into British Cinema, the ‘Bigger Picture’ policy (1998) managed to encourage a more sustainable investment into the BFI, and it also managed to double the domestic market share in British film. The Film Review Group (1998) were very much supporters of the Bigger Picture, saying ‘The British Film Industry has enormous potential… These successes show that we have a real talent in this unique area where commerce and culture meet.’ Due to the Bigger Picture and the Lottery funding, there came a new focus for British Cinema, which was film distribution. Due to the funding, Britain took control with three industry leaders; DNA, Pathe Pictures and the Film Consortium
Albeit the British Film Industry consummated a lot of funding from the Lottery and the ‘All Industry Fund’; a voluntary fund, which raised £24 million a year and Channel 4 become much more liberalised due to bigger budgets, Tony Blair and his Third Way, did stumble across some complications. Some lesser fortunate companies were unsuccessful in challenging the bigger companies, and film distribution didn’t become powerful enough too challenge Hollywood who controlled an extensive percentage of film distribution across the world. Nonetheless, in the March 2005 budget, there was a 20% tax relief for all British film and further incentives for low budget British films.
To conclude, although they did have problems, New Labour did have a very positive affect on British filmmaking, by increasing the funding put into the industry which gave those smaller companies a chance to succeed and by having a more democratic approach to society, they focused more on society and culture, which resulted in a bigger investment into what the public wants and the preservation of British culture.
Up until the New Labour government in 1997, the Conservatives were very anti-protectionist; meaning that if an industry ran into trouble, it was always a ‘sink or swim’ situation. Labour on the other hand, were more concerned with culture, rather than capital. In the sense that they wanted to protect and project British culture, rather than generate income and balance payments.
In the 1985 budget, Thatcher chose to close the ‘Eady Levy’, which was a tax on cinema seats, intended to support the British Film Industry. This was closed due to a majority of the money being given to distributors, rather than producers. Therefore not filling its original purpose. This particular closure proved that Thatcher was more interested in generating as much income from successful industries, and leaving those in struggle to fend for themselves.
New Labour on the other hand, were far greater concerned with protecting these industries. In his 1998 book, Tony Blair stated that ‘The Third way stands for a modernised social democracy… it is a third way because it moves decisively beyond an old left preoccupied by state control… and a new right treating public investment’ By this he meant that the new government were leaving socialism behind and moving into a new state of labourism. Blair managed to show this by removing Clause 4 in 1994, which looked to increase the number of nationalised industries. He did this because he looked for no tension between the state and the individual, and he also wanted more private-public relationships.
Although the lottery funding started in 1995 with £28 million being pumped into British Cinema, the ‘Bigger Picture’ policy (1998) managed to encourage a more sustainable investment into the BFI, and it also managed to double the domestic market share in British film. The Film Review Group (1998) were very much supporters of the Bigger Picture, saying ‘The British Film Industry has enormous potential… These successes show that we have a real talent in this unique area where commerce and culture meet.’ Due to the Bigger Picture and the Lottery funding, there came a new focus for British Cinema, which was film distribution. Due to the funding, Britain took control with three industry leaders; DNA, Pathe Pictures and the Film Consortium
Albeit the British Film Industry consummated a lot of funding from the Lottery and the ‘All Industry Fund’; a voluntary fund, which raised £24 million a year and Channel 4 become much more liberalised due to bigger budgets, Tony Blair and his Third Way, did stumble across some complications. Some lesser fortunate companies were unsuccessful in challenging the bigger companies, and film distribution didn’t become powerful enough too challenge Hollywood who controlled an extensive percentage of film distribution across the world. Nonetheless, in the March 2005 budget, there was a 20% tax relief for all British film and further incentives for low budget British films.
To conclude, although they did have problems, New Labour did have a very positive affect on British filmmaking, by increasing the funding put into the industry which gave those smaller companies a chance to succeed and by having a more democratic approach to society, they focused more on society and culture, which resulted in a bigger investment into what the public wants and the preservation of British culture.
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