Dragons then and now: UEA study uncovers Britain’s forgotten fantasy boom
By: Communications
New research from the University of East Anglia (UEA) highlights an overlooked chapter in British cinema, when the industry struggled to make the most of a wave of fantasy filmmaking in the early 1980s.
The study, led by Dr Claire Hines, Lecturer in Film Studies at UEA, explores the rise of “sword and sorcery” films, a short-lived but ambitious trend that followed the global success of science fiction blockbusters such as Star Wars.
While widely dismissed at the time, these films are now being reassessed as an important and underappreciated moment in British cinema.
And with fantasy now dominating global big and small screens, from Masters of the Universe to House of the Dragon, Britain’s earlier efforts look strikingly ahead of their time.
Drawing on trade journals, press coverage and fan magazines, the research looks at how the films were made, marketed and received, and why they have been largely overlooked in British film history.
A hidden history of fantasy filmmaking
Dr Hines said: “British film history has long focused on social realism and heritage drama, often pushing more imaginative genres to the margins.
“My research shows that fantasy played a bigger role than widely recognised but has often been ignored in mainstream accounts of British cinema.”
The study highlights films such as the British-funded Hawk the Slayer (1980), alongside US-funded productions such as Excalibur (1981), Krull (1983), and Dragonslayer (1981), as part of a wider push to make fantasy a major commercial genre.
Big ambitions but mixed results
Dr Hines said: “In the early 1980s, industry figures believed fantasy could follow science fiction as the next big trend, with hopes of launching new blockbuster franchises.
“Some filmmakers even saw their heroes as potential rivals to iconic figures like James Bond.”
But despite high expectations, many productions struggled. Limited budgets, weak scripts or tight production schedules often held them back, leading to poor reviews and uneven box office results.
Dr Hines said: “Industry predictions of a major ‘sword and sorcery’ trend soon faded, with critics suggesting by the mid-1980s that it had already ‘limped to a standstill’ as British cinema returned to more familiar styles.
“My research suggests Britain’s fantasy wave was caught between ambition and reality, trying to match Hollywood spectacle sometimes without Hollywood budgets.”
Why didn’t the films connect with audiences?
Part of the challenge was how audiences understood the films. Many did not fit neatly into a single genre.
For example, Dragonslayer was seen as too dark for younger viewers, while Krull mixed fantasy and science fiction in ways critics found confusing.
At a time when fantasy was expected to be family-friendly, this made it harder for audiences to engage.
The research suggests this lack of clarity left audiences unsure what kind of films they were watching, limiting their appeal at the box office.
Reappraising a “failed” boom
Despite their early reception, many of these films have since gained cult followings and are now recognised for shaping modern fantasy storytelling.
The research argues that, rather than being written off as failures, they should be seen as ambitious attempts from the British film industry.
Rethinking British cinema
The study suggests this forgotten period challenges long-standing ideas about British cinema.
Dr Hines said: “Britain has traditionally focused on realism, helping explain why fantasy has often been overlooked, even when there was clear interest from filmmakers and audiences.”
“Overall, the research presents the early 1980s fantasy wave as both a missed opportunity and a sign of a more adventurous British film culture than is often recognised.”
Under the Spell of Fantasy: The Sword and Sorcery Production Cycle in British Popular Cinema of the Early 1980s is published in the British Fantasy Society Journal.
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