Conclusion

Abstract

The conclusion provides a brief overview of EMI’s output, highlighting the key moments which defined its story and its eventual omission from most histories of British filmmaking. It argues that its status as a transnational company has led to it being difficult to place in the British filmmaking canon, but I argue that its American work, especially films that were critical of America like The Deer Hunter and Honky Tonk Freeway, presents a British sensibility that can be used to reclaim EMI as part of a British filmmaking tradition. Ultimately, the history of EMI Films demonstrates that the limits of British cinema are more flexible and permeable than previous authors have suggested.