Editing Cinema of the United Kingdom (section)

==Art cinema==
[[File:BFI London IMAX at night.jpg|thumb|right|[[London IMAX]] cinema]]
Although it had been funding British experimental films as early as 1952, the [[British Film Institute]]'s foundation of a production board in 1964—and a substantial increase in public funding from 1971 onwards—enabled it to become a dominant force in developing British art cinema in the 1970s and 80s: from the first of [[Bill Douglas]]'s Trilogy ''My Childhood'' (1972), and of [[Terence Davies]]' Trilogy ''Childhood'' (1978), via [[Peter Greenaway]]'s earliest films (including the surprising commercial success of ''The Draughtsman's Contract'' (1982)) and [[Derek Jarman]]'s championing of the New Queer Cinema. The first full-length feature produced under the BFI's new scheme was [[Kevin Brownlow]] and [[Andrew Mollo]]'s ''Winstanley'' (1975), while others included ''Moon Over the Alley'' (1975), ''Requiem for a Village'' (1975), the openly avant-garde ''Central Bazaar'' (1973), ''[[Pressure (1976 film)|Pressure]]'' (1975) and ''A Private Enterprise'' (1974) &ndash; the last two being, respectively, the first British Black and Asian features.

The release of Derek Jarman's ''[[Jubilee (1978 film)|Jubilee]]'' (1978) marked the beginning of a successful period of UK [[art film|art cinema]], continuing into the 1980s with filmmakers like [[Sally Potter]] and [[Ken McMullen (film director)|Ken McMullen]], and producers like [[Stewart Richards]], with success at the [[Cannes Film Festival]] and the [[Academy Awards]]. Unlike the previous generation of British film makers who had broken into directing and production after careers in the theatre or on television, the Art Cinema Directors were mostly the products of Art Schools. Many of these filmmakers were championed in their early career by the [[London Film Makers Cooperative]] and their work was the subject of detailed theoretical analysis in the journal ''Screen Education''. Peter Greenaway was an early pioneer of the use of computer generated imagery blended with filmed footage and was also one of the first directors to film entirely on high definition video for a cinema release.

With the launch of [[Channel 4]] and its [[Film4|Film on Four]] commissioning strand, Art Cinema was promoted to a wider audience. However, the Channel had a sharp change in its commissioning policy in the early 1990s and Greenaway and others were forced to seek European co-production financing.