British Cinema, Past and PresentJustine Ashby, Andrew Higson Psychology Press, 2000 - 385 sider British Cinema: Past and Present responds to the commercial and critical success of British film in the 1990s. Providing a historical perspective to the contemporary resurgence of British cinema, this unique anthology brings together leading international scholars to investigate the rich diversity of British film production, from the early sound period of the 1930s to the present day. The contributors address: * British Cinema Studies and the concept of national cinema * the distribution and reception of British films in the US and Europe * key genres, movements and cycles of British cinema in the 1940s, 50s and 60s * questions of authorship and agency, with case studies of individual studios, stars, producers and directors * trends in British cinema, from propaganda films of the Second World War to the New Wave and the 'Swinging London' films of the Sixties * the representation of marginalised communities in films such as Trainspotting and The Full Monty * the evolution of social realism from Saturday Night, Sunday Morning to Nil By Mouth * changing approaches to Northern Ireland and the Troubles in films like The Long Good Friday and Alan Clarke's Elephant * contemporary 'art' and 'quality' cinema, from heritage drama to the work of Peter Greenaway, Derek Jarman, Terence Davies and Patrick Keiller |
Indhold
British cinema from | 4 |
PART I | 19 |
The instability of the national | 35 |
PART II | 49 |
fifty years | 80 |
PART III | 93 |
British cinema and the middlebrow | 110 |
Arthur Askey and the construction of popular entertainment | 124 |
femininity and national identity | 233 |
PART VI | 247 |
reimagining communities | 261 |
the 1990s underclass film masculinity | 274 |
coming to terms with Northern | 288 |
style and authenticity | 301 |
The Belly of an Architect | 330 |
Representations of capitalism history and nation in the work | 339 |
PART IV | 135 |
the films of the Associated British | 152 |
negotiating space for a female | 166 |
the case of Roy Ward Baker | 179 |
PART V | 191 |
This Modern Age and the British nonfiction film | 207 |
social realism and classlessness | 221 |
Robinson in Space | 347 |
British cinema 19302000 | 353 |
355 | |
361 | |
367 | |
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Almindelige termer og sætninger
ABPC aesthetic American argue Arthur Askey audience authorship Baker Band Waggon Beautiful Laundrette Betty Box box-office Britain British cinema British cinema history British film industry British Film Institute broadcasting comedy commercial contemporary context costume critical cycle David Lean director documentary drama Ealing economic England English European example explore feature films film and television film culture film production Film Studies film-makers film's Full Monty Gainsborough gender genre Gotfurt Greenaway heritage film Hill Hollywood Ibid images issue James Ivory Jarman Keiller landscape male Michael middlebrow modern movement narrative national identity Northern Ireland Oxford Peeping Peeping Tom performance picture played political popular propaganda question Radio Rank Organisation realism recent representations Review Richards Robinson in Space role Routledge screen sense sexual shot social star style success suggests Swinging London themes tion tradition Trainspotting underclass films University Press Victor Saville wartime women working-class