Editing Cinema of the United Kingdom (section)

===The 1960s===
[[File:Peter OToole in Lawrence of Arabia.jpg|left|thumb|upright|[[Peter O'Toole]] in ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'' (1962)]]
As the 1960s progressed, American studios returned to financially supporting British films, especially those that capitalised on the "[[swinging London]]" image propagated by ''[[Time (magazine)|Time]]'' magazine in 1966. Films like ''[[Darling (1965 film)|Darling]]'', ''[[The Knack ...and How to Get It]]'' (both 1965), ''[[Alfie (1966 film)|Alfie]]'' and ''[[Georgy Girl]]'' (both 1966), all explored this phenomenon. ''[[Blowup]]'' (also 1966), and later ''[[Women in Love (film)|Women in Love]]'' (1969), showed female and then male full-frontal nudity on screen in mainstream British films for the first time.

At the same time, film producers Harry Saltzman and [[Albert R. Broccoli]] combined sex with exotic locations, casual violence and self-referential humour in the phenomenally successful [[James Bond (film series)|James Bond]] series with [[Sean Connery]] in the leading role. The first film ''[[Dr. No (film)|Dr. No]]'' (1962) was a [[sleeper hit]] in the UK and the second, ''[[From Russia with Love (film)|From Russia with Love]]'' (1963), a hit worldwide. By the time of the third film, ''[[Goldfinger (film)|Goldfinger]]'' (1964), the series had become a global phenomenon, reaching its commercial peak with ''[[Thunderball (film)|Thunderball]]'' the following year. The series' success led to a [[spy film]] boom with many Bond imitations. Bond co-producer Saltzman also instigated a rival series of more realistic spy films based on the novels of [[Len Deighton]]. [[Michael Caine]] starred as bespectacled spy [[Harry Palmer]] in ''[[The Ipcress File (film)|The Ipcress File]]'' (1965), and two sequels in the next few years. Other more downbeat espionage films were adapted from [[John le Carré]] novels, such as ''[[The Spy Who Came In from the Cold (film)|The Spy Who Came In from the Cold]]'' (1965) and ''[[The Deadly Affair]]'' (1966).
[[File:Dr. Strangelove - The War Room.png|right|thumb|The war room in ''[[Dr. Strangelove]]'' (1963) was designed by [[Ken Adam]]]]
American directors were regularly working in London throughout the decade, but several became permanent residents in the UK. Blacklisted in America, [[Joseph Losey]] had a significant influence on British cinema in the 1960s, particularly with his collaborations with playwright [[Harold Pinter]] and leading man [[Dirk Bogarde]], including ''[[The Servant (1963 film)|The Servant]]'' (1963) and ''[[Accident (1967 film)|Accident]]'' (1967). Voluntary exiles [[Richard Lester]] and [[Stanley Kubrick]] were also active in the UK. Lester had major hits with [[The Beatles]] film ''[[A Hard Day's Night (film)|A Hard Day's Night]]'' (1964) and ''[[The Knack ...and How to Get It]]'' (1965) and Kubrick with ''[[Dr. Strangelove]]'' (1963) and ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'' (1968). While Kubrick settled in [[Hertfordshire]] in the early 1960s and would remain in England for the rest of his career, these two films retained a strong American influence. Other films of this era involved prominent filmmakers from elsewhere in Europe, ''[[Repulsion (film)|Repulsion]]'' (1965) and ''Blowup'' (1966) were the first English language films of the Polish director [[Roman Polanski]] and the Italian [[Michelangelo Antonioni]] respectively.

Historical films as diverse as ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'' (1962), ''[[Tom Jones (1963 film)|Tom Jones]]'' (1963), and ''[[A Man for All Seasons (1966 film)|A Man for All Seasons]]'' (1966) benefited from the investment of American studios. Major films like ''[[Becket (1964 film)|Becket]]'' (1964), ''[[Khartoum (film)|Khartoum]]'' (1966) and ''[[The Charge of the Light Brigade (1968 film)|The Charge of the Light Brigade]]'' (1968) were regularly mounted, while smaller-scale films, including ''[[Accident (1967 film)|Accident]]'' (1967), were big critical successes. Four of the decade's [[Academy Awards|Academy Award]] winners for best picture were British productions, including six [[Academy Awards|Oscars]] for the film musical ''[[Oliver! (film)|Oliver!]]'' (1968), based on the [[Charles Dickens]] novel ''[[Oliver Twist]]''.

After directing several contributions to the BBC's ''[[The Wednesday Play|Wednesday Play]]'' anthology series, [[Ken Loach]] began his feature film career with the social realist ''[[Poor Cow]]'' (1967) and ''[[Kes (film)|Kes]]'' (1969). Meanwhile, the controversy around [[Peter Watkins]] ''[[The War Game]]'' (1965), which won the Best Documentary Film Oscar in 1967, but had been suppressed by the BBC who had commissioned it, would ultimately lead Watkins to work exclusively outside Britain.