By David Zou
The 1980s is perhaps one of the most defining decades of 20th century Britain. Not only had it rejigged the country’s political and economic ideologies (for better or for worse) but culturally, it was time of great creativity and diversity as a response to this changing landscape.
British cinema was especially changing, from a decline in the 1970s after American studios slowly stopped backing U.K productions and with less funding from the newly formed 1979 conservative government. A lot of filmmakers turned to television to be cinema’s saving grace.
From the launch of Channel 4 in 1982, independent productions as well as much larger ones began to receive funding which, in turn, allowed new and interesting films to be made, providing a distinct critique of the era. The Films on Four scheme helped fund figures who became defining (or in some cases, already defined) figures in the industry such as Peter Greenaway, Ken Loach, Sally Potter, Derek Jarman, Stephen Frears and Mike Leigh, to name but a few.
Of course these films were still available to watch on the silver screen, but the 1980s begged the question of what exactly was the true cinematic aesthetic in the face of more quality television being produced?One film that falls slap bang in the middle of this debate is the 1984 film Threads.
Threads is a made for TV film which was broadcast on the 24th of September by the BBC and was directed by Mick Jackson who would go onto to make the sublime television series A Very British Coup (1988) as well as the 1992 film The Bodyguard.
Set in, then, present day Sheffield the film depicts a nuclear bomb hitting the city after an outbreak of a major conflict due to Soviet and U.S aggressions in the middle-east. The film follows the → continue…
From:: Taste Of Cinema