Though generally hostile to British filmmaking, the talented editorial group at , not only of the international art cinema and noted Hollywood productions, but also of Jennings’s films, which they saw as exemplifying a 'poetic realism' that gave equal emphasis to the 'real and the sensibility of the director who imposed his vision and hence style upon it.
), but it ended publication in 1952 after only fourteen issues.
Traditionally, Britain has been said to have missed out on the development of auteurism and art cinema in the 1950s, instead clinging to its traditional industrial policies of trying to (albeit unsuccessfully) compete with the Americans on the popular market.
Even if this was true for the film industry, it is not entirely so for film culture as a whole, since Britain was at least intellectually at the very core of the foundation of the European art cinema in the 1950s, even if the art films were not really to emerge until the 1960s (perhaps with the exception of Jack Clayton’s Room at the Top in 1959).
They do not depend upon the excitement generated by the plot-centred forms of narrative that Hollywood customarily offered.
The new waves redefined and renewed the national cinemas involved, providing them with a flow of financially successful and critically acclaimed productions that reflected native culture, utilised home-grown talent and frequently garnered favourable international notice, especially after successful distribution in the United States, where the international art cinema had been an important presence in exhibition since the early 1950s." generation, towards the end of decade represented by the breakthrough of the nouvelle vague, with Truffaut, Godard, Rohmer and Chabrol.
In early 1956, as Anderson and his friends Karel Reisz, Tony Richardson and Lorenza Mazzetti were struggling to get their films shown, they decided to join forces and screen them together in a single programme at the National Film Theatre, which Reisz had conveniently been programming for three years.
They soon realised that although the films had been made independently, they had a definite 'attitude in common'.
Anderson coined the term 'Free Cinema' (a reference to the films having been made free from the pressures of the box-office or the demands of propaganda), and together produced a 'manifesto' in which they stated the ideas behind the presentation of the programme.
Although the name was intended only for that one-off event, the 'publicity stunt' proved so effective - with the event attracting wide press attention and all screenings sold out - that five more programmes were shown under the same banner in the next three years, each accompanied by a programme note in the form of a manifesto.