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Romantics and modernists in British cinema /
In a fresh and invigorating look at British cinema John Orr examines the neglected relationship between romanticism and modernism from 1929 to the present-day. Encompassing a broad selection of films, film-makers and debates, this book brings a new perspective to how scholars might understand and in...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Edinburgh :
Edinburgh University Press,
©2010.
|
| Colección: | Edinburgh studies in film.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Orr, John, |d 1943-2010. | |
| 245 | 1 | 0 | |a Romantics and modernists in British cinema / |c John Orr. |
| 260 | |a Edinburgh : |b Edinburgh University Press, |c ©2010. | ||
| 300 | |a 1 online resource (vi, 195 pages) : |b illustrations | ||
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| 490 | 1 | |a Edinburgh studies in film | |
| 504 | |a Includes bibliographical references (pages 185-188) and index. | ||
| 505 | 0 | |a Cover; Copyright; Contents; Acknowledgements; List of fi gures; Introduction: romantics versus modernists?; CHAPTER 1 1929: romantics and modernists on the cusp of sound; CHAPTER 2 The running man: Hitchcock's fugitives and The Bourne Ultimatum; CHAPTER 3 Running man 2: Carol Reed and his contemporaries; CHAPTER 4 David Lean: the troubled romantic and the end of empire; CHAPTER 5 The trauma film from romantic to modern: A Matter of Life and Death to Don't Look Now; CHAPTER 6 Joseph Losey and Michelangelo Antonioni: the expatriate eye and the parallax view. | |
| 588 | 0 | |a Print version record. | |
| 520 | |a In a fresh and invigorating look at British cinema John Orr examines the neglected relationship between romanticism and modernism from 1929 to the present-day. Encompassing a broad selection of films, film-makers and debates, this book brings a new perspective to how scholars might understand and interrogate the major traditions that have shaped British cinema history. Orr identifies two prominent genres in the British template that often go unrecognised, the fugitive film and the trauma film, whose narratives have bridged the gap between romantic and modern forms. Here Hitchcock, Lean, Powell, Reed and Robert Hamer are identified as key romantics, Roeg, Losey, Antonioni, Kubrick and Skolimowski as later modernists. The book goes on to assess the narrowing divide through the films of Terence Davies and Bill Douglas and concludes by analysing its persistence in the new century, in the prize-winning features Control and Hunger. | ||
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