• Paul Moody


The conclusion provides a brief overview of EMI’s output, highlighting the key moments which defined its story and its eventual omission from most histories of British filmmaking. It argues that its status as a transnational company has led to it being difficult to place in the British filmmaking canon, but I argue that its American work, especially films that were critical of America like The Deer Hunter and Honky Tonk Freeway, presents a British sensibility that can be used to reclaim EMI as part of a British filmmaking tradition. Ultimately, the history of EMI Films demonstrates that the limits of British cinema are more flexible and permeable than previous authors have suggested.

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Paul Moody
    • 1
  1. 1.Brunel University LondonLondonUK

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