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Record Nr. |
UNINA9910798659003321 |
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Titolo |
Dissolving views : key writings on British cinema / / edited by Andrew Higson |
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Pubbl/distr/stampa |
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London, England : , : Bloomsbury Academic, , 2020 |
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London, England : , : Bloomsbury Publishing, , 2020 |
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ISBN |
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0-304-33529-0 |
1-4742-9066-3 |
1-4742-9065-5 |
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Descrizione fisica |
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1 online resource (290 p.) |
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Collana |
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Bloomsbury academic collections. Film studies : European cinema |
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Disciplina |
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Soggetti |
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Motion pictures - Great Britain - History |
Films, cinema |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Originally published in 1996 by Cassell. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Cover; Half-title; Title; Copyright; Contents; Acknowledgements; Notes on Contributors; 1 -- Introduction; 2 -- Hitchcock's British Films Revisited; Preface (1995); Hypnagogic structures: Hitchcock's British period (1980); Afterword (1995); Notes; 3 -- The Production Designer and the Gesamtkunstwerk: German Film Technicians in the British Film Industry of the 1930s; Refugees, residents and the mobility of labour; Continental know-how for British films; Public opinion and the Union; A 'Teutonic' aesthetic?; Note; 4 -- Engendering the Nation: British Documentary Film, 1930-1939; Notes. |
5 -- Neither Here nor There: National Identity in Gainsborough Costume Drama6 -- The Quality Film Adventure: British Critics and the Cinema, 1942-1948; Critics as contemporary historians; Human like oneself; Light in the darkness; Organic unities; Flow; The visual; In a restrained tone; The truth of the real; Concentrating the mind wonderfully; Duplication; Authenticity; The spirit of reality; The search for documentary; Who makes films?; Industry and audience; Disillusion; Notes; 7 -- From Holiday Camp to High Camp: Women in British Feature Films, 1945-1951; Notes; 8 -- Victim: Text as Context. |
Preface (1995)Introduction; Situating Victim: Conceptualization of |
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homosexuality; Situating Victim: Sexuality and British film culture; Reading Vietimi an indictment of repression; Afterword (1995); Notes; 9 -- Space, Place, Spectacle: Landscape and Townscape in the 'Kitchen Sink' Film; Notes; 10 -- Landscapes and Stories in 1960s British Realism; The Moment of the uses of literacy; Looking back in gender; Coronation Street, or 'Whatever happened to our Mam?'; Domestic interiors of the British New Wave; Aesthetic strategies and urban landscapes; Note. |
11 -- The British Avant-Garde and Art Cinema from the 1970s to the 1990sNote; 12 -- A Post-national European Cinema: A Consideration of Derek Jarman's The Tempest and Edward II; Note; 13 -- Beyond The Cinema of Duty'? The Pleasures of Hybridity: Black British Film of the 1980s and 1990s; 14 -- Crossing Thresholds: The Contemporary British Woman's Film; 15 -- The Heritage Film and British Cinema; Questions of genre; Historical antecedents; Ambivalence; Narratives of instability, images of stability; The question of emotionality; Melodrama and mise-en-scè€ne; Marginal voices; Trivial histories. |
The question of receptionBibliography; Index. |
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Sommario/riassunto |
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"British cinema has been far richer and more diverse than is generally recognized, as this collection of key writings on British film culture ? from the conversion to sound in the late 1920s to the 1990s ? testifies. Dissolving Views brings together a number of important and influential essays and the light they throw on 70 or so years of British cinema history makes this volume a vital, provocative and highly informative collection."-- |
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