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The horror film is now one of the most popular and talked-about film genres and yet, outside of the Hammer studio, very little has been written about British horror. Going beyond Hammer, British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man. ^ Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraft movies, the work of the Amicus studio, and key filmmakers including Peter Walker. British Horror Cinema also features a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley. Chapters include: *the 'Psycho Thriller' *the British censors and horror cinema *femininity and horror film fandom *witchcraft and the occult in British horror *Horrific films and 1930s British Cinema *Peter Walker and Gothic revisionism
Tavistock Press was established as a co-operative venture between
the Tavistock Institute and Routledge & Kegan Paul (RKP) in the
1950s to produce a series of major contributions across the social
sciences. This volume is part of a 2001 reissue of a selection of
those important works which have since gone out of print, or are
difficult to locate. Published by Routledge, 112 volumes in total
are being brought together under the name The International
Behavioural and Social Sciences Library: Classics from the
Tavistock Press. Reproduced here in facsimile, this volume was
originally published in 1977 and is available individually. The
collection is also available in a number of themed mini-sets of
between 5 and 13 volumes, or as a complete collection.
Tavistock Press was established as a co-operative venture between
the Tavistock Institute and Routledge & Kegan Paul (RKP) in the
1950s to produce a series of major contributions across the social
sciences. This volume is part of a 2001 reissue of a selection of
those important works which have since gone out of print, or are
difficult to locate. Published by Routledge, 112 volumes in total
are being brought together under the name The International
Behavioural and Social Sciences Library: Classics from the
Tavistock Press. Reproduced here in facsimile, this volume was
originally published in 1977 and is available individually. The
collection is also available in a number of themed mini-sets of
between 5 and 13 volumes, or as a complete collection.
British cinema has been around from the very birth of motion
pictures, from black-and-white to color, from talkies to sound, and
now 3D, it has been making a major contribution to world cinema.
Many of its actors and directors have stayed at home but others
ventured abroad, like Charlie Chaplin and Alfred Hitchcock. Today
it is still going strong, the only real competition to Hollywood,
turning out films which appeal not only to Brits, just think of
Bridget Jones, while busily adding to franchises like James Bond
and Harry Potter. So this Historical Dictionary of British Cinema
has a lot of ground to cover. This it does with over 300 dictionary
entries informing us about significant actors, producers and
directors, outstanding films and serials, organizations and
studios, different films genres from comedy to horror, and
memorable films, among other things. Two appendixes provide lists
of award-winners. Meanwhile, the chronology covers over a century
of history. These parts provide the details, countless details,
while the introduction offers the big story. And the extensive
bibliography points toward other sources of information.
First published on the fiftieth anniversary of his directorial
debut, this book is the first to examine the work of a man once
hailed as the finest film-maker to emerge from the British studio
system after the Second World War. J. Lee Thompson first came to
notice as a talented teenage playwright before entering the film
business as a scriptwriter. In the unadventurous world of British
film-making in the 1950s, he established himself as a controversial
figure known for his innovative ideas and public clashes with the
Censor. Before being recruited by Hollywood he made a string of
classic films including: Yield to the Night (1956), Ice Cold in
Alex (1958), Tiger Bay (1959), North West Frontier (1959) and The
Guns of Navarone (1961). Lee Thompson worked in the Hollywood
industry into his late eighties, making nearly thirty films as a
director and producer between 1960 and 1990. He remains the best
known, however, for his first: the immortal thriller Cape Fear
(1962). Drawing on extensive interview material, Steve Chibnall
traces Lee Thompson's career in British cinema, and offers an
analysis of his films which reveals remarkable, and previously
unacknowledged, continuities of style and theme. This is a book for
anyone interested in the history of British cinema, and
particularly those who enjoy the best of 1950s and 1960s film.
The horror film is now one of the most popular and talked about film genres and yet, outside of the Hammer studio, very little has been written about British horror. Going beyond Hammer, British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man. Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraftmovies, the work of the Amicus studio, and key filmmakers including Peter Walker. British Horror Cinema also features a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley. Chapters include: *the 'Psycho Thriller' *the British censors and horror cinema *femininity and horror film fandom *witchcraft and the occult in British horror *Horrific films and 1930s British Cinema *Peter Walker and Gothic revisionism
This is the first substantial study of British cinema's most neglected genre. Bringing together original work from some of the leading writers on British popular film, this book includes interviews with key directors Mike Hodges (Get Carter) and Donald Cammel (Performance). It discusses an abundance of films including: * acclaimed recent crime films such as Shallow Grave, Shopping, and Face. * early classics like They Made Me A Fugitive * acknowledged classics such as Brighton Rock and The Long Good Friday * 50s seminal works including The Lavender Hill Mob and The Ladykillers.
This is the first substantial study of British cinema's most neglected genre. Bringing together original work from some of the leading writers on British popular film, this book includes interviews with key directors Mike Hodges (Get Carter) and Donald Cammel (Performance). It discusses an abundance of films including: * acclaimed recent crime films such as Shallow Grave, Shopping, and Face. * early classics like They Made Me A Fugitive * acknowledged classics such as Brighton Rock and The Long Good Friday * 50s seminal works including The Lavender Hill Mob and The Ladykillers.
"This is the first book to provide a thorough examination of the
British 'B' movie, from the war years to the 1960s. The authors
draw on archival research, contemporary trade papers and interviews
with key 'B' filmmakers to map the 'B' movie phenomenon both as
artefact and as industry product, and as a reflection on their
times"--Provided by publisher.
This book, the first of two volumes, will provide a major new
history of the British B film, tracing the development of the
low-budget supporting feature from the 1927 Films Act (which
introduced a quota system for the distribution and exhibition of
indigenous product) to the age of television, when B film producers
channelled their energies into making TV programmes. Along the way,
the authors will address leading producers and studios, B film
stars, distributors, the genres and themes that tended to dominate
B film production (comedy, horror, crime and fantasy). "Quota
Quickies" will include a case study of the B films of Michael
Powell. The authors' argument is that the B film was hugely
important in British cinema history in offering an opportunity for
British actors and technicians to develop their careers, and that
the films themselves provided an outlet for the exploration of
peculiarly British cultural concerns in an industry traditionally
dominated by Hollywood output. They also contend that some of the
films stand up well to contemporary viewing and are deserving of
critical re-evaluation.
This book, the first of two volumes, will provide a major new
history of the British B film, tracing the development of the
low-budget supporting feature from the 1927 Films Act (which
introduced a quota system for the distribution and exhibition of
indigenous product) to the age of television, when B film producers
channelled their energies into making TV programmes. Along the way,
the authors will address leading producers and studios, B film
stars, distributors, the genres and themes that tended to dominate
B film production (comedy, horror, crime and fantasy). "Quota
Quickies" will include a case study of the B films of Michael
Powell. The authors' argument is that the B film was hugely
important in British cinema history in offering an opportunity for
British actors and technicians to develop their careers, and that
the films themselves provided an outlet for the exploration of
peculiarly British cultural concerns in an industry traditionally
dominated by Hollywood output. They also contend that some of the
films stand up well to contemporary viewing and are deserving of
critical re-evaluation.
"Get Carter" is now widely acknowledged as the finest British
gangster film of all time. Released in 1971, the film fell out of
fashion until the cultural changes of the 1990s gave a new currency
to its pessimistic vision of a doomed male within a decaying social
order. Before its re-release in 1999, Mike Hodges' fusion of the
crime genre with social realism received surprisingly little
critical attention. Steve Chibnall's book now gives "Get Carter"
the consideration it demands. With the co-operation of Hodges and
access to rare documents, including an early draft of the script,
Chibnall places the film in its social context, describes its
making, discusses its characteristics, scene by scene, and charts
its changing status since the 1970s.
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