A Look at the 2011 British Film Industry: Old Bridges

One might suggest that in the year 2011, at the peak of success, the British film industry is under public scrutiny and may be adversely affected by the global economic decline controversy.

“Government cuts will damage our ability to tell the world about our national culture,” is but one argument against the global economic decline leading towards cutbacks in the British film industry.

Are the government cuts justified?

In other words, can old bridges constructed throughout the course of history and funded accordingly, still hold sway in a changing economic climate? Are new bridges in order?

Look at the recent awards for “The King’s Speech”.

“The King's Speech was nominated in 14 categories and won in seven, including best film and best British film.” 

“The King's Speech triumphed with seven Baftas, leaving little glory for anyone else.” 

Perhaps part of the global economic controversy affecting the film industry everywhere, has more to do with the availability of funding for specific film industry projects, particularly those that are ethnocentric in nature, than anything else.

British monarchists argue in favor of funding in the film industry oriented to promoting the monarchy of the United Kingdom (the British monarchy), which should surprise no one. Other countries do the same thing, at the same time promoting their own social mores and current values.

The question becomes one of what happens in the film industry, when an ethnocentric approach appears to be outmoded as obsolete. There are those who will argue that the British monarchy is not obsolete, in fact it is more pertinent in this day and age, than ever. Perhaps it may never become outmoded. A recent visit to Canada and the United States, by representatives of the British monarchy, may have made that increasingly evident.

Relevancy of the monarchy appears to be the key, but does the film making industry make the monarchy relevant or does the monarchy make the film industry relevant?

While all efforts in the British film industry are to be highly commended for their success, a pro or anti-monarchy dispute may be at the heart of the British film industry. At some point in time, the public may begin to demand a change in the film industry.

Perhaps a re-focusing of the British film industry in terms of more pertinent family values is timely, because of the transitions in the monarchy. Regardless, there will be changes, as that is inevitable.

Will the anti-monarchists ever be able to obtain glory in the British film industry? If so, will it be secure? Will the monarchists ultimately hold sway?

Can old bridges stand forever?