How the Movie Brats Took Over Edinburgh provides a lively and extremely informative account of a key period in the history of the Edinburgh Film Festival.
Charting the influence of French cinéphilia and the theoretical debates surrounding the influential journal Screen, the book makes a strong argument for the Festival’s role in shaping film culture and the film festival agenda.
As someone who worked for the Edinburgh International Film Festival for over a decade and has himself organised film festivals, Matthew Lloyd provides an informed and highly-readable account of one of the world’s most important film festivals.
Matthew Lloyd is a filmmaker, curator and festival producer. He worked for the Edinburgh International Film Festival for 10 years, as both a programmer and an administrator. Matthew has produced two high profile film events for Tilda Swinton and Mark Cousins, the Ballerina Ballroom Cinema of Dreams in 2008 and A Pilgrimage in 2009. Now based in Glasgow, he programmes shorts for The Magic Lantern and the Glasgow Short Film Festival. Matthew has also directed three short films, which have screened at various international festivals.
Context and Method
Edinburgh and the European Film Festival Phenomenon
British Appreciation/French Desire
The Politicisation of Edinburgh’s Cinéphilia
The Limits of Auteurism
Years of Uncertainty
Conclusion: Utopian Anomaly?
Mark Cousins (critic, broadcaster, filmmaker and former EIFF Director)
A book of both rigour and emotion, as if a Douglas Sirk melodrama had been re-directed by Straub-Huillet. Lloyd looks at those brainy, insolent years of Edinburgh, when the Festival was telling us why Sam Fuller, Jacques Tourneur and Raoul Walsh really matter. The breakthrough of Third Cinema, when curators finally looked to the Southern Hemisphere, was around the bend. The paradise lost described here is thrilling, and captured the attention of the film world.
Kay Armatage (University of Toronto)
From 1972-1980, the Edinburgh International Film Festival galvanised the cinéphile world with a series of special screenings and conferences on psychoanalysis, feminism, history, and the avant-garde. EIFF is undoubtedly the only film festival ever to send out a bibliography and I still remember my surprise at receiving an advance reading list. I was lucky in being assigned to Stephen Heath’s psychoanalysis seminar, although I would have been happy with Laura Mulvey, Jacqueline Rose, or any others of the leading lights who were conducting tutorials. Collaborating with Screen and the BFI, the festival’s conferences and screenings shaped the academic film world for decades to come.
Jamie Dunn, ‘Easy Riders, Raging Cinephiles: An Interview with Matthew Lloyd’, The Skinny, 11 August 2011.
Douglas Allen, Media Education Journal, 51, Summer 2012, 60-61.
'Lloyd meticulously pieces together the story of how Edinburgh built up a world-wide reputation for intellectual rigour and oppositional practice […] His account is an innovative and exciting one.'