British FilmThis book explores British cinema in relation to its social political and cultural contexts. Each chapter deals with a specific topic and includes close readings of key films from different historical periods. Demonstrating the richness and variety of a national cinema that has traditionally struggled to define itself between the paradigms of Hollywood popular film and European art cinema, British Film provides comprehensive coverage of British cinema and detailed discussion of specific films that can be used in tandem with screenings. |
Contents
Great BritainDeep England | 13 |
What Is British Cinema? | 30 |
The Art of Being Realistic | 48 |
British Expressionism | 66 |
National Cinema as Popular Cinema | 86 |
Acting British | 104 |
Sex Gender | 124 |
The British Sense of Humor | 143 |
British Monsters | 161 |
Ideology and the School Movie | 182 |
History and Heritage | 199 |
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Common terms and phrases
accents actors Alexander Korda Alfred Hitchcock appear argues audience become Bond films Boorman Branagh Brighton Rock Britain British cinema British culture British Film Institute Carry On films Chapter comic context critics depicts director documentary Dracula Ealing comedies effect England English Figure film's filmmakers Frankenstein gangster genre Gerald Thomas Greenaway Greene Grierson heritage films Higson horror films Howards End Ibid ideological images insisted involved James Jarman John John Boorman Ken Loach Korda Kureishi London Losey Mackendrick melodrama Michael Mike Leigh modern monster Monty moral movie Murphy myth narrative national character national cinema national identity Nicolas Roeg Nil by Mouth novels Olivier opening sequence plays political popular culture produced quoted realism realist tradition Richards Roeg screen screenplay sense sex film sexual Shakespeare shot social spectator star stereotypes story stresses studios suggests television tensions Terence Fisher Thatcher thrillers utopian Wave films wife woman women working-class young