Adam Curtis at the San Francisco International Film Festival in 2005
26 May 1955
|Known for||The Century of the Self|
|Influenced by||John Dos Passos' USA Trilogy 
Kevin Adam Curtis (born 1955) is an English film maker. His best known work is The Century of the Self (2002), a film that examined how Freud's theories of the unconscious shaped the development of PR and advertising. He says, "My favourite theme is power and how it works in society", and his works explore areas of sociology, philosophy and political history. He describes his work as journalism that happens to be expounded upon through the medium of film. His films have won six BAFTAs. He has been closely associated with the BBC throughout his film making career.
Early life 
Curtis was born in 1955 as Kevin Adam Curtis in Kent. His father was Martin Curtis (10 August 1917 - January 2002), a cinematographer from Sevenoaks in Kent who worked with Humphrey Jennings. His family had a left wing background. Curtis attended the Sevenoaks School on a county scholarship.
Curtis completed a Bachelor of Arts in Human Sciences at Mansfield College, Oxford, which included courses in genetics, evolutionary biology, psychology, politics, anthropology and statistics. He started a Ph.D, during which he tutored in Politics, but while on the course became disillusioned with academia.
He applied to the BBC, and was hired to make a film for one of the BBC training courses, comparing designer clothes in pop music videos to the design of weapons. He subsequently obtained a post on That's Life!, a programme that often placed serious and humorous content in close juxtaposition.
Of his general political outlook, Curtis has said:
People often accuse me of being a lefty. That’s complete rubbish. If you look at The Century of the Self, what I’m arguing is something very close to a neo-conservative position because I’m saying that, with the rise of individualism, you tend to get the corrosion of the other idea of social bonds and communal networks, because everyone is on their own. Well, that’s what the neo-conservatives argue, domestically...If you ask me what my politics are, I’m very much a creature of my time. I don’t really have any. I change my mind over different issues, but I am much more fond of a libertarian view. I have a more libertarian tendency...
Curtis has professed to believe in progress. To quote:
The thing that really depresses me is the failure of confidence among the liberal middle classes in the West to believe in the idea of progress. I think they’ve retreated into a dark, pessimistic apocalypticism, which I fight against. I believe in progress, and what I was trying to say in All Watched Over by Machines of Loving Grace — it wasn’t really angry — is that the Congo represents to us how difficult it is to change the world. That doesn’t mean you shouldn’t keep trying. Instead what we do is we use the Congo and its failures as a justification for that retreat into a pessimistic view that we’re just fixed creatures. Everyone’s bad. There’s nothing we can do. Let’s just stay at home and have tea. That’s what I want to attack. It’s not political, it’s just a belief that you can change the world for the better, and I think there’s a deep conservatism and reaction that’s emerging in our society at the moment, which is just hold everything steady and don’t try and change anything.
You can trace back everything I do to that novel because it’s all about grand history, individual experience, their relationship. And also collages, quotes from newsreels, cinema, newspapers. And it’s about collage of history as well. That’s where I get it all from.
Curtis makes extensive use of archive footage in his documentaries. He has acknowledged the influence of recordings made by Erik Durschmied and to "constantly using his stuff in my films". An Observer profile said of Curtis' style:
Curtis has a remarkable feel for the serendipity of such moments, and an obsessive skill in locating them. "That kind of footage shows just how dull I can be," he admits, a little glumly. "The BBC has an archive of all these tapes where they have just dumped all the news items they have ever shown. One tape for every three months. So what you get is this odd collage, an accidental treasure trove. You sit in a darkened room, watch all these little news moments, and look for connections."
The Observer adds "if there has been a theme in Curtis's work since, it has been to look at how different elites have tried to impose an ideology on their times, and the tragicomic consequences of those attempts."
Curtis received the Golden Gate Persistence of Vision Award at the San Francisco International Film Festival in 2005. In 2006 he was given the Alan Clarke Award for Outstanding Contribution to Television at the British Academy Television Awards. In 2009 Sheffield Doc/Fest awarded Curtis the inaugural Sheffield Inspiration Award for his inspiration to documentary makers and audiences.
|1983||Just Another Day: Walton on the Naze||Various long-standing British institutions.|
|1983||The Tuesday Documentary: Trumpets and Typewriters||The history of war correspondents.|
|1984||Inquiry: The Great British Housing Disaster.||The system-built housing of the 1960s.|
|1984||Italians: Mayor of Montemilone||With Dino Labriola[who?]|
|1984||The Cost Of Treachery||The Albanian Subversion, a 1949 plot in which the CIA and MI6 attempted to overthrow the Albanian government to weaken the Soviet Union. The counter-agent within the intelligence rank, Kim Philby.|
|1987||40 Minutes: Bombay Hotel||The luxurious Taj Mahal Palace & Tower in Mumbai, contrasted with the poverty of the slums of the city.|
|1988||An Ocean Apart||The process by which the United States was involved in the First World War.||Episode One: "Hats Off to Mr. Wilson".|
|1989||40 Minutes: The Kingdom of Fun||Documentary about the Metro Centre in Gateshead, developed by entrepreneur John Hall. The programme compares John Hall's plans to regenerate the North East, with those of T. Dan Smith.|
|1989||Inside Story: The Road To Terror||How the Iranian Revolution turned from idealism to terror. Draws parallels with the French Revolution two hundred years earlier.|
|1992||Pandora's Box||The dangers of technocratic and political rationality.||6||BAFTA: Best Factual Series [dead link]|
|1995||The Living Dead||The way that history and memory (both national and individual) have been used by politicians and others.||3|
|1996||25 Million Pounds||Nick Leeson and the collapse of Barings Bank.||San Francisco International Film Festival, 1998: Best Science and Nature Documentary|
|1997||Modern Times: The Way of All Flesh||The story, dating back to the 1950s, of the search for a cure to cancer and the impact of Henrietta Lacks, the "woman who will never die" because her cells never stopped reproducing.||Golden Gate Award, 1997|
|1999||The Mayfair Set||How buccaneer capitalists were allowed to shape the climate of the Thatcher years, focusing on the rise of Colonel David Stirling, Jim Slater, James Goldsmith, and Tiny Rowland, all members of The Clermont club in the 1960s.||4||BAFTA, 2000: Best Factual Series or Strand|
|2002||The Century of the Self||How Freud's theories concerning the unconscious led to Edward Bernays' development of public relations, the use of desire over need and self-actualisation as a means of achieving economic growth and the political control of population.||4||BBC Four, art house cinemas in the US||Broadcast Award: Best Documentary Series; Longman/History Today Awards: Historical Film of the Year; Entertainment Weekly, 2005: fourth best movie|
|2004||The Power of Nightmares||Suggested a parallel between the rise of Islamism in the Arab world and Neoconservatism in the United States in that both needed to inflate a myth of a dangerous enemy in order to draw people to support them.||3||BBC Two||BAFTA, 2004: Best Factual Series|
|2007||The Trap — What Happened to our Dream of Freedom||The modern concept of freedom. ||3||BBC Two|
|2007||—||Television news reporters.||1||Charlie Brooker's Screenwipe, third episode of the fourth series|
|2009||—||The rise of "Oh Dear"-ism.||1||Charlie Brooker's Screenwipe|
|2009||It Felt Like a Kiss||Mixed media. Broadcast 2 July.||1|
|2010||—||Paranoia and moral panics.||1||Charlie Brooker's Newswipe, fourth episode in the second series|
|2011||All Watched Over By Machines of Loving Grace||The computer as a model of the world around us.||3||BBC Two|
|2011||Every Day is Like Sunday||The rise and fall of newspaper tycoon Cecil King, and the changing relationship between the public, politics and the media.||1||The Medium and the Message, his personal blog. This is not an officially released documentary but "a rough cut".|
- Interview: Adam Curtis | Filmlinc.com | Film Society of Lincoln Center, By Chris Darke on July 17. 2012
- "Hans Ulrich Obrist in Conversation with Adam Curtis". e-flux. Retrieved 8/02/2013.
- Search birth records 1837-2006 | Fully indexed birth records | Findmypast.co.uk
- In Conversation with Adam Curtis, Part I | e-flux
- The Telegraph Interview
- BBC - Adam Curtis Blog: GOODIES AND BADDIES
- Adams, Tim (2004-10-24). "The Exorcist". London: The Observer. Retrieved 2010-02-17.
- Adam Curtis, San Francisco International Film Festival
- "The Great British Housing Disaster (1984)". British Film Institute. Retrieved 2009-07-06.
- "San Francisco Film Society". Retrieved 2009-07-06.
- "BAFTA: Winners 2000". Archived from the original on 2004-10-19. Retrieved 2009-07-06.
- "Past Winners and Nominees (2004)". BAFTA. Retrieved 2009-07-06.
- "Adam Curtis". BBC. Archived from the original on 24 June 2009. Retrieved 2009-07-06.
- Appleyard, Bryan (28 June 2009). "Adam Curtis: TV's great documentary maker". The Times (London). Retrieved 2009-07-06.
- ALL WATCHED OVER BY MACHINES OF LOVING GRACE - Adam Curtis Blog - BBC, 10 May 2011
- TV review: All Watched Over by Machines of Loving Grace - The Guardian, 23 May 2011
- "Every Day is like Sunday". BBC. Retrieved 2011-08-06.
- Adam Curtis's blog, BBC
- Adam Curtis: The Desperate Edge of Now, exhibition at a gallery including audio of an interview
- Bright Lights Film Journal :: The Power of Auteurs and the Last Man Standing: Adam Curtis' Documentary Nightmares