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- Free Cinema was a documentary film movement that emerged in England in the mid-1950s. The term referred to an absence of propagandising intent or deliberate box office appeal. Co-founded by Lindsay Anderson, though he later disdained the 'movement' tag, with Karel Reisz, Tony Richardson and Lorenza Mazzetti, the movement began with a programme of three short films at the National Film Theatre, London on 5 February 1956. The programme was such a success that five further programmes appeared under the Free Cinema banner before the founders decided to end the series; the last event was held in March 1959. Three of the screenings consisted of work from overseas film makers. Anderson and Reisz had previously founded, with Gavin Lambert, the shortlived, but influential journal Sequence, of which Anderson later wrote '"No Film Can Be Too Personal". So ran the initial pronouncement in the first Free Cinema manifesto. It could equally well have been the motto of SEQUENCE'. The manifesto was drawn up by Lindsay Anderson and Lorenza Mazzetti at a Charing Cross cafe called The Soup Kitchen, where Mazzetti worked. It reads: These films were not made together; nor with the idea of showing them together. But when they came together, we felt they had an attitude in common. Implicit in this attitude is a belief in freedom, in the importance of people and the significance of the everyday. As filmmakers we believe that No film can be too personal. The image speaks. Sound amplifies and comments. Size is irrelevant. Perfection is not an aim. An attitude means a style. A style means an attitude. At an interview in 2001, Mazzetti explained that the reference to size was prompted by the then-new experiments in CinemaScope and other large screen formats, "The image speaks" was an assertion of the primacy of the image over the sound. Reisz said that "An attitude means a style" meant that "a style is not a matter of camera angles or fancy footwork, it's an expression, an accurate expression of your particular opinion. " The first Free Cinema programme featured just three films: Anderson's O Dreamland (1953), previously unshown, about an amusement park in Margate in Kent, Reisz and Richardson's Momma Don't Allow (1956), about a Wood Green (North London) jazz club, and Mazzetti's Together (also 1956), a documentary-style fiction about a pair of deaf-mutes in London's bomb-torn East End. The films were accompanied by the above provocative film manifesto, written chiefly by Anderson, which helped bring the film-makers valuable publicity. Later programmes brought in other likeminded filmmakers, among them Alain Tanner and Claude Goretta, Michael Grigsby and Robert Vas. The two film technicians closely associated with the movement were Walter Lassally and John Fletcher. The three of the six programmes devoted to foreign work, included the new Polish cinema (fourth programme), emerging French New Wave (fifth programme) and American independent filmmaker Lionel Rogosin was invited to screen his ground breaking film On the Bowery at the second Free cinema program in September 1956. That event also included the work of Norman McLaren and Georges Franju. The films were 'free' in the sense that they were made outside the confines of the film industry and were distinguished by their style and attitude and by their conditions of production. All of the films were made cheaply, for no more than a few hundred pounds, mostly with grants from the British Film Institute's Experimental Film Fund, although some of the later films were sponsored by the Ford Motor Company or funded independently. They were typically shot in black and white on 16mm film, using lightweight, handheld cameras, usually with a non-synchronised soundtrack added separately. Most of the films deliberately omitted narration. The film-makers shared a determination to focus on ordinary, largely working-class British subjects, which they felt had been overlooked by the middle-class-dominated British film industry of the time, displaying a rare sympathy and respect, and a self-consciously poetic style. The founders were dismissive of mainstream documentary film-making in Britain, particularly of the British Documentary Movement of the 1930s and 1940s associated with John Grierson, although they made an exception for Humphrey Jennings. Another acknowledged influence was French director Jean Vigo (1905-34). Free Cinema bears some similarities to, but as many differences from, the cinéma vérité and Direct Cinema movements. Free Cinema was a major influence on the British New Wave of the late 1950s and early 1960s, and all of the founders except Mazzetti would make films associated with the movement, Reisz with Saturday Night and Sunday Morning (1960), Richardson with A Taste of Honey (1961) and The Loneliness of the Long Distance Runner (1962) and Anderson with This Sporting Life (1963).
- Free Cinema ist eine Bewegung in der britischen Filmkultur, die Mitte der 1950er Jahre ihren Anfang nahm und durch ihre stark dokumentarische Qualität geprägt ist. Die Filme des Free Cinema zeigen die Lebensverhältnisse der Arbeiterklasse in ungeschönten Bildern. Die dokumentarische Arbeit von Regisseuren wie Tony Richardson, Lindsay Anderson und Karel Reisz mündete in Kollaborationen mit Schriftstellern der Generation der Angry Young Men und damit zu den Spielfilmen der British New Wave, in vieler Hinsicht dem Gegenstück zur französischen Nouvelle Vague.
- Free Cinema fou un moviment cinematogràfic britànic que va néixer els anys 1950 i es prolongà fins la dècada dels 1960 i que es caracteritzava per implementar una estètica realista en el cinema de ficció i documental ocupant-se de retractar històries creades a partir d'allò que és quotidià i compromès amb la realitat social de llavors, essent una reacció a l'artificialitat narrativa de Hollywood i a la dramatúrgia britànica. El moviment fou influenciat per la Nouvelle Vague francesa.
- Free Cinema fue un movimiento cinematográfico británico que nació en los años 1950 y se prolongó hasta la década de 1960 y que se caracterizaba por implementar una estética realista en el cine de ficción y documental ocupándose de retratar historias creadas a partir de lo cotidiano y comprometido con la realidad social de aquel entonces, siendo una reacción a la artificialidad narrativa de Hollywood y a la dramaturgia británica. El movimiento fue influenciado por la Nouvelle Vague francesa.
- Le Free cinema (cinéma libre) est un courant cinématographique britannique — novateur et contestataire — que l'on peut situer entre 1956 et 1963, voire 1968 selon quelques auteurs. On a parlé parfois de « Nouvelle vague britannique », par analogie avec la Nouvelle vague, une école esthétique française qui s'est développée également au tournant des années 1950 et 1960.
- Il Free cinema fu un movimento cinematografico inglese, culturale, sociale e politico (esplicitamente di sinistra) degli anni cinquanta e sessanta del XX secolo, di forte contestazione del cinema britannico dell'epoca, inserito nel più ampio contesto internazionale delle "nuove onde" cinematografiche emerse in molte cinematografie nazionali fra la fine degli anni cinquanta e gli anni sessanta.
- フリー・シネマ（英語Free Cinema、1956年2月5日 - 1959年）は、ドキュメンタリーフィルムの映画運動であり、1950年代英国が発祥である。
- Free Cinema (z ang. "wolne kino") - ruch w brytyjskim filmie dokumentalnym w latach 50. XX wieku. Po raz pierwszy tego pojęcia użył Alan Cooke w 1951 roku na łamach "Sequence". Według założeń "Free Cinema" dokument miał wychodzić naprzeciw rzeczywistości i rejestrować wydarzenia rozgrywające się przed kamerą. Do najważniejszych filmów tego ruchu zalicza się następujące dzieła: Mama nie pozwala Karela Reisza i Tony'ego Richardsona, We Are the Lamberth Boys Reisza, Wakefield Express, Kraina marzeń, Czwartkowe dzieci, Hale targowe w Londynie Andersona oraz Czas na rozrywkę Claude'a Goretty i Alaina Tannera.
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- Free Cinema was a documentary film movement that emerged in England in the mid-1950s. The term referred to an absence of propagandising intent or deliberate box office appeal. Co-founded by Lindsay Anderson, though he later disdained the 'movement' tag, with Karel Reisz, Tony Richardson and Lorenza Mazzetti, the movement began with a programme of three short films at the National Film Theatre, London on 5 February 1956.
- Free Cinema ist eine Bewegung in der britischen Filmkultur, die Mitte der 1950er Jahre ihren Anfang nahm und durch ihre stark dokumentarische Qualität geprägt ist. Die Filme des Free Cinema zeigen die Lebensverhältnisse der Arbeiterklasse in ungeschönten Bildern.
- Free Cinema fou un moviment cinematogràfic britànic que va néixer els anys 1950 i es prolongà fins la dècada dels 1960 i que es caracteritzava per implementar una estètica realista en el cinema de ficció i documental ocupant-se de retractar històries creades a partir d'allò que és quotidià i compromès amb la realitat social de llavors, essent una reacció a l'artificialitat narrativa de Hollywood i a la dramatúrgia britànica.
- Free Cinema fue un movimiento cinematográfico británico que nació en los años 1950 y se prolongó hasta la década de 1960 y que se caracterizaba por implementar una estética realista en el cine de ficción y documental ocupándose de retratar historias creadas a partir de lo cotidiano y comprometido con la realidad social de aquel entonces, siendo una reacción a la artificialidad narrativa de Hollywood y a la dramaturgia británica.
- Le Free cinema (cinéma libre) est un courant cinématographique britannique — novateur et contestataire — que l'on peut situer entre 1956 et 1963, voire 1968 selon quelques auteurs. On a parlé parfois de « Nouvelle vague britannique », par analogie avec la Nouvelle vague, une école esthétique française qui s'est développée également au tournant des années 1950 et 1960.
- Il Free cinema fu un movimento cinematografico inglese, culturale, sociale e politico (esplicitamente di sinistra) degli anni cinquanta e sessanta del XX secolo, di forte contestazione del cinema britannico dell'epoca, inserito nel più ampio contesto internazionale delle "nuove onde" cinematografiche emerse in molte cinematografie nazionali fra la fine degli anni cinquanta e gli anni sessanta.
- フリー・シネマ（英語Free Cinema、1956年2月5日 - 1959年）は、ドキュメンタリーフィルムの映画運動であり、1950年代英国が発祥である。
- Free Cinema (z ang. "wolne kino") - ruch w brytyjskim filmie dokumentalnym w latach 50. XX wieku. Po raz pierwszy tego pojęcia użył Alan Cooke w 1951 roku na łamach "Sequence". Według założeń "Free Cinema" dokument miał wychodzić naprzeciw rzeczywistości i rejestrować wydarzenia rozgrywające się przed kamerą.
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