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From Refugee to the BBC: Rudolph Cartier, Weimar Cinema and Early British Television

The lack of critical material on emigre Rudolph Cartier is surprising given his pivotal contributions as producer-director to British television.2 Working for the BBC until 1977, he was responsible for over 100 programmes, among them many landmark productions such as the science-fiction series The Quatermass Experiment (1953), a controversial adaptation of George Orwell’s Nineteen EightyFour (1954), episodes of the police drama Z-Cars (1962–78), the drama-documentary Lee Oswald – Assassin (1966) and numerous early television plays such as Portrait of Peter Perowne (1952) and The Saint of Bleecker Street (1956). Underlining a general tendency of television studies to value the contributions of writers higher than those professionals working in other capacities, many of his best-known programmes have been discussed more in relation to the writer Nigel Kneale than to Cartier as their director and producer. This tendency has only recently changed in favour of studies that stress the collaborative nature of television drama production and acknowledge the multifaceted creative relationship between Kneale and Cartier (Johnson 2005; Jacobs 2000). Still, many of these works cannot explain satisfactorily Cartier’s legacy as their scope is often limited to a few critically acclaimed television programmes. They also largely fail to acknowledge Cartier’s status as an emigre artist. This article offers a clearer sense of Cartier’s overall career and his importance for the BBC. It contextualises Cartier’s work for German cinema before the Nazis came to power, and early British