How did new Labour ideology affect British film making during the 90's and 00's ?

New labour's attitude towards the British film industry was very different than the conservatives approach during Margret Thatcher’s rule. Prior to the new labour being formed and taking power in 1997, the conservatives approach to the British film industry was to more or less leave it to its own devices. Tax incentives were withdrawn, Eady levy was closed (although this was being exploited by American filmmakers and not the best working system) and the National film finance corporation (NFFC) was closed. When New Labour came into power they issued the 'A Bigger Picture' act in relation to culture, media and sports. This aimed to double the domestic market share for British films, bring in a larger and more diverse audience, bring in training provisions to meet needs of the industry, encourage sustained investments and export and attract further inward investments. As well as these plans National lottery funding was also put in place which is now at £28 million per annum. As well as tax breaks being reinstated. Due to this increased interest and funding in the British film industry it was able to thrive like never before. An article from the Guardian (http://www.theguardian.com/business/2010/apr/29/labour-good-for-film-industry) states that "Since 1997, this government has invested £665 million into the British film industry". Richard Curtis is arguably the most famous writer and director of this time. Working on films such as, Bridget Jones (2001),Notting Hill (1999), Love Actually (2003) and Four Weddings and a Funeral (1994). These films have all been big success both here and some even international success in America. These films are famously London-centric showing a postcard picture version of Britain. They show the lives of Middle class British people unlike new wave British cinema which showed more working class people living in the Midlands and North of England. These films have also now produced their own stars that are associated with this style of films, Hugh Grant, Colin Firth and Bill Nighy in particular. All of which are also considered stars in America, Colin Firth even won an oscar in 2011 for The Kings Speech which could also be considered a British film. This success in British Cinema would not have been possible without the new Labour ideology. The funding and support from the Government has helped the British Film industry to flourish. As Richard Curtis films show, a new cinematic/auteur style has also come out of this revival in British cinema. This style has helped to make British cinema recognisable across the world and popular in many countries. The advantage of showing a postcard picture of Britain is that it makes the film light-hearted and transnational so that they can be easily enjoyed and understood by people from any culture. However, some would argue that this is also a disadvantage as we are sacrificing are cultural heritage for financial success. This is an argument that may continue for years to come. However, one thing that cannot be argued is how new Labours contribution to British Film industry was monumental and should forever be remembered.

Was 'A Taste Of Honey' a typical film of the British new wave?

Evergreen (1934), Victor Saville, Gaumont British Picture Corporation.