ABSTRACT The article explores how the process of film selection was conducted on the national level in Britain in order to shed light on the notion of ‘programming along national lines’ from the perspective of countries participating in international film events such as the Cannes film festival. In Britain, such participation was seen as an opportunity by both film producers and the government to present British films on the international stage, away from the American and the colonial ones. The intense and often confused debates as to whether the UK should participate in international film festivals at all and which films should be selected reflected the dynamics of British film industry. Seen from the perspective of these debates Britain’s participation in the international film festivals becomes a significant episode in the industry’s history. The struggles surrounding the representation of Britain on the international film festival circuit reveal yet another trend within the history of the British film industry, in particular its production sector – namely, which of these modestly budgeted indigenous films could best represent Britain at international film festivals and to what end exactly.

中文翻译：

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制片人的游乐场：战后英国电影制片人协会和国际电影节

摘要本文探讨了如何在英国国家一级进行电影选择的过程，以便从参加国际电影盛会（如戛纳电影节）的国家的角度阐明“沿国界编程”的概念。在英国，电影制片人和政府都认为这种参与是在国际舞台上展示美国电影的机会，而美国和殖民地电影除外。关于英国是否应该参加国际电影节以及应该选择哪部电影的激烈而经常是混乱的辩论，反映了英国电影业的动态。从这些辩论的角度来看，英国参加国际电影节成为该行业历史上的重要事件。