A World on His Shoulders
Nat Cohen, Anglo-EMI and the British Film Industry
Bibliographic Data
| ID | 21784975 |
|---|---|
| Authors | Laura Mayne (0000-0002-3876-4378, corresponding author) |
| Year | 2021 |
| Volume | 18 |
| Issue | 1 |
| Pages | 34-49 |
| Publication date | 2021-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of British Cinema and Television (JOURNAL) |
| Journal identifiers | ISSN: 1743-4521 • E-ISSN: 1755-1714 |
| Publisher | Edinburgh University Press (PUBLISHER • GB) |
| DOI | 10.3366/jbctv.2021.0554 |
| OpenAlex | W3118950685 |
| Language | EN |
| References cited | 5 |
Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona
Art · Art history · Comedy · Corporation · Film industry · Instinct · Management · Media studies · Movie theater · Newspaper · Political science · Sociology · Visual arts · Cinema and Media Studies · History · Law
| Citation velocity | historical |
|---|---|
| Highly cited | No |