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They worried that we will have no say in any change to the Audiovisual Media Services Directive, which allows producers freedom of reception throughout Europe, and were concerned that British consumers would lose the new possible right to access online video services while abroad.More positively, Olswang argued that the UK would be free of EU oversight on artistic subsidies and could now reframe the ‘Cultural Test’ (which decides what counts as a British film) to suit itself.

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registered at 21 Stephen St, London, WIT ILN Editorial Nick James THE BRIGHT SIDE A friend, kind enough to read this column every month, recently suggested (pre-Brexit) that I’ve been getting too negative.

Given current circumstances, with the world aghast at what the UK has done, no one would blame me if I paused here for bitter laughter...

It’s also the case that a weak pound lowers costs for Hollywood productions in the UK, so at least our actors and technicians should continue to do well. Coming back to the current flux in the ways and means by which we watch audiovisual culture: one of the obvious parallels one can draw - given the problems of over-supply of films, of the breakdown of format windows and of the multiple use of theatres - is with the situation that prevailed in the 1920s.

Then, the model of the feature film in a theatre was just one of many manifestations of film and film projection and had not yet come to dominate how the medium was thought about; this was the heyday of the French avant-garde, a time when modernism was driving the major art movements of the 20th century and innovation was to the fore. And since Brexit’s revenge is to send us back to 1 970s levels of austerity, we might also consider that that was the decade when the punk movement - which we celebrate this month (see page 20) - was bom.

I want to come back to that point, but first I’d like to go over what we’ve heard so far about Brexit’s possible impact on UK film and television.

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