Romantics and Modernists in British Cinema / / 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 in...
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Place / Publishing House: | Edinburgh : : Edinburgh University Press, , [2022] ©2010 |
Year of Publication: | 2022 |
Language: | English |
Series: | Edinburgh Studies in Film and Intermediality : ESFI
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Physical Description: | 1 online resource (208 p.) |
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Orr, John, author. aut http://id.loc.gov/vocabulary/relators/aut Romantics and Modernists in British Cinema / John Orr. Edinburgh : Edinburgh University Press, [2022] ©2010 1 online resource (208 p.) text txt rdacontent computer c rdamedia online resource cr rdacarrier text file PDF rda Edinburgh Studies in Film and Intermediality : ESFI 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 restricted access http://purl.org/coar/access_right/c_16ec online access with authorization star 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. Mode of access: Internet via World Wide Web. In English. Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022) Film, Media & Cultural Studies. PERFORMING ARTS / Film & Video / General. bisacsh Title is part of eBook package: De Gruyter Edinburgh University Press Backlist eBook-Package 2013-2000 9783110780468 print 9780748640140 https://doi.org/10.1515/9780748642304?locatt=mode:legacy https://www.degruyter.com/isbn/9780748642304 Cover https://www.degruyter.com/document/cover/isbn/9780748642304/original |
language |
English |
format |
eBook |
author |
Orr, John, Orr, John, |
spellingShingle |
Orr, John, Orr, John, Romantics and Modernists in British Cinema / Edinburgh Studies in Film and Intermediality : ESFI 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 |
author_facet |
Orr, John, Orr, John, |
author_variant |
j o jo j o jo |
author_role |
VerfasserIn VerfasserIn |
author_sort |
Orr, John, |
title |
Romantics and Modernists in British Cinema / |
title_full |
Romantics and Modernists in British Cinema / John Orr. |
title_fullStr |
Romantics and Modernists in British Cinema / John Orr. |
title_full_unstemmed |
Romantics and Modernists in British Cinema / John Orr. |
title_auth |
Romantics and Modernists in British Cinema / |
title_alt |
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 |
title_new |
Romantics and Modernists in British Cinema / |
title_sort |
romantics and modernists in british cinema / |
series |
Edinburgh Studies in Film and Intermediality : ESFI |
series2 |
Edinburgh Studies in Film and Intermediality : ESFI |
publisher |
Edinburgh University Press, |
publishDate |
2022 |
physical |
1 online resource (208 p.) |
contents |
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 |
isbn |
9780748642304 9783110780468 9780748640140 |
url |
https://doi.org/10.1515/9780748642304?locatt=mode:legacy https://www.degruyter.com/isbn/9780748642304 https://www.degruyter.com/document/cover/isbn/9780748642304/original |
illustrated |
Not Illustrated |
doi_str_mv |
10.1515/9780748642304?locatt=mode:legacy |
oclc_num |
1302163818 |
work_keys_str_mv |
AT orrjohn romanticsandmodernistsinbritishcinema |
status_str |
n |
ids_txt_mv |
(DE-B1597)616702 (OCoLC)1302163818 |
carrierType_str_mv |
cr |
hierarchy_parent_title |
Title is part of eBook package: De Gruyter Edinburgh University Press Backlist eBook-Package 2013-2000 |
is_hierarchy_title |
Romantics and Modernists in British Cinema / |
container_title |
Title is part of eBook package: De Gruyter Edinburgh University Press Backlist eBook-Package 2013-2000 |
_version_ |
1770176376154882048 |
fullrecord |
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