Ever since its inception, British cinema has been obsessed with
crime and the criminal. One of the first narrative films to be
produced in Britain, the Hepworth's 1905 short "Rescued by Rover,"
was a fast-paced, quick-edited tale of abduction and kidnap, and
the first British sound film, Alfred Hitchcock's "Blackmail"
(1930), centered on murder and criminal guilt. For a genre
seemingly so important to the British cinematic character, there is
little direct theoretical or historical work focused on it. The
Britain of British cinema is often written about in terms of
national history, ethnic diversity, or cultural tradition, yet very
rarely in terms of its criminal tendencies and dark underbelly.
This volume assumes that, to know how British cinema truly works,
it is necessary to pull back the veneer of the costume piece, the
historical drama, and the rom-com and glimpse at what is
underneath. For every "Brief Encounter" (1945) there is a "Brighton
Rock" (2010), for every "Notting Hill "(1999) there is a "Long Good
Friday" (1980).
General
Imprint: |
Auteur Publishing
|
Country of origin: |
United Kingdom |
Series: |
Studying British Cinema |
Release date: |
October 2014 |
First published: |
October 2014 |
Authors: |
Paul Elliott
|
Dimensions: |
235 x 159 x 12mm (L x W x T) |
Format: |
Paperback - Trade
|
Pages: |
192 |
ISBN-13: |
978-1-906733-74-2 |
Categories: |
Books >
Arts & Architecture >
Performing arts >
Films, cinema >
General
|
LSN: |
1-906733-74-0 |
Barcode: |
9781906733742 |
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