‘I didn’t think I’d be working on this type of film’: Berberian Sound Studio and British Art Film as Alternative Film History

It could be said that the films of the director Peter Strickland are in many ways exemplars of a rich strain of twenty-first century British art cinema. Like work by Andrea Arnold, Steve McQueen, Jonathan Glazer, Lynne Ramsay, Ben Wheatley, and Sam Taylor-Wood, among others, Strickland’s three feature-length films to date are thought provoking, well crafted, prestige, quality productions. But in this article I want to show that while Strickland’s second feature-length film Berberian Sound Studio conforms to some of the commonly held understandings of the key traits of British art cinema – especially through its specific history of production and exhibition, its characterisation, its narrative structure, and its evidencing of the vision of an ‘auteur’ – it ultimately does not sit comfortably within most extant histories of British national cinema or film genre, including art cinema. More than this, though, I want to argue that in its challenge to such extant critical traditions, Berberian Sound Studio effectively operates as ‘art film as alternative film history’. I will demonstrate that it does this through the foregrounding of Strickland’s cine-literacy, which notices and in turn foregrounds the historically transnational nature of cinema, and, at the same time, playfully and knowingly disrupts well-established cultural categories and coherent, homogenous histories of cinema