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Product Description
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.
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.
Inside This Book
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First Sentence
As we enter the twenty-first century, the study of the previous century's distinctive art form - the cinema - seems to have come of age. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
As we enter the twenty-first century, the study of the previous century's distinctive art form - the cinema - seems to have come of age. Read the first page
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Browse Sample PagesConcordance
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews
Format:Paperback|Amazon Verified Purchase
This book arose from a conference held at the University of East Anglia in 1998 on the British cinema,and represents papers that were presented by the various contributors,and doesnt it just show.I give you an eample of the language known as acadamese which is frequently on view in this book,This example is on P 108:-
Common knowledge is sustained in a dynamic process working with the curiosity and sense of adventure of the population rather than just the dreariness associated with the idea of the everyday.
The chapters about the 30s and the 40s are generally quite readable.However when you reach the 1950s it feels rather like hacking your way through a dense jungle.Eventually by the late 50s ,page 240,i came to a grinding halt.I realised that i could not make sense of what was being said and it was very boring.So for the first time that i can remember i decided to stop two thirds the way through.A shame since some of the early chapters were quite interesting.
Common knowledge is sustained in a dynamic process working with the curiosity and sense of adventure of the population rather than just the dreariness associated with the idea of the everyday.
The chapters about the 30s and the 40s are generally quite readable.However when you reach the 1950s it feels rather like hacking your way through a dense jungle.Eventually by the late 50s ,page 240,i came to a grinding halt.I realised that i could not make sense of what was being said and it was very boring.So for the first time that i can remember i decided to stop two thirds the way through.A shame since some of the early chapters were quite interesting.
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