Romantics and Modernists in British Cinema / / John Orr.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Backlist eBook-Package 2013-2000
• VerfasserIn: Orr, John,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2010
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Studies in Film and Intermediality : ESFI
• Physical Description: 1 online resource (208 p.)
• Other title: Frontmatter --; Contents --; Acknowledgements --; List of figures --; Introduction: romantics versus modernists? --; 1. 1929: romantics and modernists on the cusp of sound --; 2. The running man: Hitchcock’s fugitives and The Bourne Ultimatum --; 3. Running man 2: Carol Reed and his contemporaries --; 4. David Lean: the troubled romantic and the end of empire --; 5. The trauma film from romantic to modern: A Matter of Life and Death to Don’t Look Now --; 6. Joseph Losey and Michelangelo Antonioni: the expatriate eye and the parallax view --; 7. Expatriate eye 2: Stanley Kubrick and Jerzy Skolimowski --; 8. Terence Davies and Bill Douglas: the poetics of memory --; 9. Conclusion: into the new century --; Select bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780748642304; 9783110780468
• DOI: 10.1515/9780748642304?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: John Orr.

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.