In a fresh and invigorating look at British cinema that considers
film as an art form among other arts, John Orr takes a critical
look at the intriguing relationship between romanticism and
modernism that has been much neglected in the study of UK cinema
and downplayed in the development of Western cinema. Encompassing a
broad selection of films, film-makers and debates, this book brings
a fresh perspective to how scholars might understand and
interrogate the major traditions that have shaped British cinema
history. Covering the period between 1929 and the present, this
book examines outstanding directors such as Alfred Hitchcock, David
Lean, Carol Reed, Nicholas Roeg, Terence Davies and Bill Douglas,
and articulates two genres vital to British cinema - the fugitive
film and the trauma film - which bridge the gap between romantic
and modern forms. Two detailed chapters also assess the powerful
impact of major expatriate directors like Losey, Antonioni,
Polanski, Kubrick and Skolimowski on modernism in the 1960s and
1970s. Detailed critical readings explore Blackmail, The Lady
Vanishes, Black Narcissus, Odd Man Out, The Passionate Friends, The
Innocents, Lawrence of Arabia, The Servant, Blow-Up, A Clockwork
Orange, Don't Look Now, The Wicker Man, Moonlighting, the Bill
Douglas trilogy and The Long Day Closes. The book concludes with an
analysis of the persistence of romantic and modernist forms in the
21st century in two recent prize-winning features, Control and
Hunger.
General
Imprint: |
Edinburgh University Press
|
Country of origin: |
United Kingdom |
Series: |
Edinburgh Studies in Film |
Release date: |
February 2012 |
First published: |
February 2012 |
Authors: |
John Orr
|
Dimensions: |
234 x 156 x 12mm (L x W x T) |
Format: |
Paperback
|
Pages: |
208 |
ISBN-13: |
978-0-7486-4937-2 |
Categories: |
Books >
Arts & Architecture >
Performing arts >
Films, cinema >
General
|
LSN: |
0-7486-4937-9 |
Barcode: |
9780748649372 |
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