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|a 791.430941
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|a UAMI
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|a Hill, John.
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|a A Companion to British and Irish Cinema
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|a Newark :
|b John Wiley & Sons, Incorporated,
|c 2019.
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| 300 |
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|a 1 online resource (608 pages)
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| 336 |
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|a text
|b txt
|2 rdacontent
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|a Print version record.
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|a Cover; Title Page; Copyright Page; Contents; About the Editor; Notes on Contributors; Introduction; Notes; References; Part I Histories: Issues and Debates; Chapter 1 British Silent Cinema; Introduction; 1894-1906; 1907-1918; 1918-1929; Note; References; Chapter 2 Cinema in Ireland from the 1890s to the 1930s; Introduction; Containing the Cinema; Foreign Filmmaking in Ireland, 1910-1914; Filmmaking During 1916-1920; Anti-sectarianism as Political Reconciliation and Unity; Remembering the Revolution; Notes; References; Chapter 3 British Cinema in the 1930s; Introduction
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|a The Historical PerspectiveReferences; Chapter 4 British Cinema and the Second World War; Introduction; The Second World War and the Golden Age Narrative; Traditional Film Histories and the Formation of the Canon; National Fictions and the Ideological Critique of British Wartime Cinema; Revisionist Histories and the Role of the Ministry of Information; Histories of Reception and Audiences; Notes; References; Chapter 5 The 1950s and 1960s; Introduction; Key Trends of the 1950s and 1960s; Back to School: An Alternative Route Through Post-war British Cinema; Notes; References
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|a Chapter 6 Irish Cinema's First Wave: Histories and Legacies of the 1970s and the 1980sIntroduction: The Arrival of an Indigenous Irish Cinema; Critical Film Practice: Cultural and Political Contexts; Makeshift Exhibition and International Circulation; First Wave Figures: Tourists, Migrants and Actors; Histories and Archaeologies; Curating First Wave Film Culture; Conclusion: Legacies of the First Wave; References; Chapter 7 History, Heritage and the National Past in British Cinema of the 1980s and 1990s; Introduction; Notes; References; Part II Critical Approaches: Debating Film Texts
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|a Chapter 8 Filming with Words: British Cinema, Literature and AdaptationNotes; References; Chapter 9 British Film Genres; Introduction; The Britishness of British Film Genres; The Genericity of British Film Genres; Conclusion; References; Chapter 10 British Cinema and Authorship; Introduction; Sequence: Creative Elements; Movie, Directors and Critics; British Authors and Auteurs; Notes; References; Chapter 11 Acting and Stardom; Introduction; Acting and Stardom in Context; Phyllis Calvert: Melodramatic Acting; Laurence Harvey: Realism and the British New Wave
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|a Daniel Day-Lewis: 'Cross-over' ActingConclusion: Acting in (Inter)national Contexts; References; Chapter 12 British and Irish Film Music; Introduction; British Film Music and the 'Classical' Tradition; British Music Films and Pop Music; Musical Traditions and Ireland; Conclusion; Notes; References; Chapter 13 Irish Cinema and International Screen Culture; Introduction; Irish Cinema and the Modernist Tradition; Irish Cinema and 'Trickle-down' Funding; Northern Ireland as Westeros; Film in Ireland: The National in the Global?; Transnational Cinema and Genre; Irish Cinema and Authorship
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| 500 |
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|a Conclusion
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| 590 |
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|a ProQuest Ebook Central
|b Ebook Central Academic Complete
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| 650 |
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|a Motion pictures
|z Great Britain.
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| 650 |
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|a Cinéma
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|a A companion to British and Irish cinema (Text)
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|i Print version:
|a Hill, John.
|t A Companion to British and Irish Cinema.
|d Newark : John Wiley & Sons, Incorporated, ©2019
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