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They worried that we will have no say in any change to the Audiovisual Media Services Directive, which allows producers freedom of reception throughout Europe, and were concerned that British consumers would lose the new possible right to access online video services while abroad.More positively, Olswang argued that the UK would be free of EU oversight on artistic subsidies and could now reframe the ‘Cultural Test’ (which decides what counts as a British film) to suit itself.Geoffrey Macnab’s study of the state of film distribution and exhibition from a UK perspective (see page 38) was written and prepared before the referendum decision was in; but it describes, in any case, a sector that’s knowingly in flux and trying new strategies.Which is good, because they will need to be equally inventive when we lose the EU rules and funding.Wouldn’t it be making the best of a bad situation if the passion and rage of the Remainers could be channelled into great new audiovisual works, which confront the vile racism that Brexit has encouraged, and shalce up our age? © August 2016 I Sight&Sound | 5 Rushes NEWS AND VIEWS IN THE FRAME MATERIAL GIRL The African queen: Vivien Leigh in the head-dress Oliver Messel made for Caesar and Cleopatra (1945) Vivien Leigh’s turbulent private life often overshadowed her career.An exhibition of her costumes and letters redresses the balance By Nathalie Morris The romantic setting of Nymans, a semi-ruined faux-medieval manor house in Sussex, provides a fitting venue for the second leg of the Victoria and Albert Museum’s touring exhibition, Vivien Leigh: Public Faces, Private Lives.Will Fowler explores UK punk film, Don Letts reflects on his filmmaking career, Frances Morgan surveys riot grrrls on screen, and Alex Cox recalls the making of Sid and Nancy 36 Blue valentine Robert Budreau’s Bom to Be Blue seeks to remain true to the improvisational spirit of Chet Baker’s music rather than simply offering a blow-by-blow account of the trumpeter’s tragic life. Miller is the editor of the book The Essential Raymond Durgnat Frances Morgan is a music critic Nathalie Morris is senior curator of Special Collections at the BFI National Archive Kim Newman's latest book is the BFI Film Classic Quatermass and the Pit: Elve Million Years to Earth Nick Pinkerton is a New York- based film critic and programmer Amanda Randall is a freelance writer and a community cinema organiser Nick Roddick is the author of several books on cinema Jon Savage is a writer, critic and filmmaker, and the author of England’s Dreaming: The Sex Pistols and Punk Rock.
Jazz on Film Running alongside the Manchester Jazz Festival is HOME’S season of jazz-themed documentaries, biopics and films renowned for their scores (17-31 July).In summary, they were: i) the possible end of financial backing from Creative Europe (successor to the MEDIA Programme as the EU’s funding body for film, TV and digital media; 2) British television will no longer qualify as EU product - channels with quotas for European content may buy less British TV; 3) working abroad may become more difficult with visas, etc, required; 4) the UK’s absence from decision-making within the EU leaves us without influence there; 5) a weak pound messes with budgets; 6) the UK will be free from ‘State Aid’ rules, so that, in theory, the government could offer more funding; 7) uncertainty will rule for a time.In an article at Screen Dai Iy.com, the law firm Olswang agreed that the free movement of people is likely to be hampered or restricted, and suggested that certain goods such as DVDs could be subject to tariffs.It’s also the case that a weak pound lowers costs for Hollywood productions in the UK, so at least our actors and technicians should continue to do well. Coming back to the current flux in the ways and means by which we watch audiovisual culture: one of the obvious parallels one can draw - given the problems of over-supply of films, of the breakdown of format windows and of the multiple use of theatres - is with the situation that prevailed in the 1920s.Then, the model of the feature film in a theatre was just one of many manifestations of film and film projection and had not yet come to dominate how the medium was thought about; this was the heyday of the French avant-garde, a time when modernism was driving the major art movements of the 20th century and innovation was to the fore. And since Brexit’s revenge is to send us back to 1 970s levels of austerity, we might also consider that that was the decade when the punk movement - which we celebrate this month (see page 20) - was bom.