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Realism And Tinsel

Author: Robert Murphy
Publisher: Routledge
ISBN: 113490150X
Size: 42.81 MB
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First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

Using Film As A Source

Author: Sian Barber
Publisher: Manchester University Press
ISBN: 0719098742
Size: 59.42 MB
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This book is a hands-on study skills guide which explores how film and moving image can be used as sources. It is aimed at those who want to use film material as the basis for research and offers advice on research methods, theory and methodology, archival work and film-based analysis including a detailed section on film aesthetics. It draws on the disciplines of film and history to offer advice for students and researchers in these fields. The skills acquired in the fields of history, politics, English literature, sociology, cultural and media studies can all help to use film as 'historical evidence,' but the study of film is a discipline in its own right. Film cannot be treated simply as a historical source, but rather needs to be understood as a distinctive medium, possessed of visual and textual codes. This guide includes sections on working with different kinds of moving images, how to explore visual sources, how to undertake film-related research and how to use film theory. As well as detailed case studies on individual films and topics, it also offers advice on research, writing and studying, creating a methodology, visiting archives, accessing material and exploring films from a historical perspective. Everything included is also an example of good research practice, whether it be conducting an interview, visiting an archive, undertaking textual analysis or defining a research question.

America Through A British Lens

Author: James D. Stone
Publisher: McFarland
ISBN: 1476625565
Size: 38.79 MB
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As the British watched their empire crumble, many British films depicted the danger and allure of American culture, reflecting a common belief that the United States--the newly dominant world power--could be reckless and irreverent. As social mobility became more common in British life, Americans on screen were portrayed as crude, outspoken and ambitious. Yet the same films that portrayed the U.S. as an agent of chaos also suggested Britons might do well to embrace American-style energy and egalitarianism. Movies like Love Actually, The Quatermass Xperiment, 28 Weeks Later, Local Hero and Alfred Hitchcock's The Secret Agent have delved into the storied "special relationship" between the U.S. and U.K. These films and many more are examined this first book-length study of British movies about America, revealing much about British attitudes regarding power, gender, class, sexuality and emotion.

Realism And Tinsel

Author: Robert Murphy
Publisher: Psychology Press
ISBN: 9780415076845
Size: 31.63 MB
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First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

Columbus

Author: Raphael Sabatini
Publisher: House of Stratus
ISBN: 075515276X
Size: 13.86 MB
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Set at the time of the discovery of the New World, this is the remarkable story of Columbus’ affair with the mysterious Beatriz Enriquez. Sabatini beautifully traces the course of their romance and the child that she bore him whilst also capturing all the passion of Columbus’s other struggle – against none other than the King and Queen of Spain.

The Cinema Of Britain And Ireland

Author: Brian McFarlane
Publisher: Wallflower Press
ISBN: 9781904764397
Size: 28.86 MB
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A fresh, concise but wide-ranging introduction to and overview of British and Irish cinema, this volume contains 24 essays, each on a separate seminal film from the region. Films under discussion include 'Pink String and Sealing Wax', 'Room at the Top', 'The Italian Job', 'Orlando', and 'Sweet Sixteen'.

From Silent Screen To Multi Screen

Author: Stuart Hanson
Publisher:
ISBN:
Size: 47.90 MB
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Detailed and comprehensive, this book is the first survey of cinema exhibition in Britain from its inception until the present. Charting the development of cinema exhibition and cinema-going in Britain from the first public film screening by the Lumière Brothers’ at London’s Regent Street Polytechnic in February 1896, through to the development of the multiplex and giant megaplex cinemas, the history of cinema exhibition is placed in its wider social, cultural and economic contexts. Adopting a chronological structure, this book takes into account how changes in the structure of the film industry, especially regarding the exhibition sector, impacted upon the cinema-going experience.

Lindsay Anderson

Author: Erik Hedling
Publisher: Burns & Oates
ISBN:
Size: 53.56 MB
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Erik Hedling explores Anderson's entire output to examine how he contributed to a broadening of film narrative in Britain towards more radical forms, prefiguring thus the internationally acclaimed British art cinema of the 1980s. Lindsay Gordon Anderson (1923-1994) was a seminal figure in the post-war period for British film culture, first as a prominent critic in journals such as Sequence and Sight & Sound, and then as a director of documentary as well as feature films. His 'anger', fighting commitment and highly polemical style made him famous, even infamous. He was also, somewhat less famously, a sensitive film critic writing classic pieces on the cinema of John Ford and Humphrey Jennings, and an aesthetically refined artist who created some classic films. This book traces Anderson's aesthetics from the early writings in Sequence, through his engagement in the 'Free Cinema' movement and the British New Wave of the early 1960s, particularly his David Storey adaptation This Sporting Life (1963), culminating in studies of the radical style which he developed in the film trilogy If (1968), O Lucky Man! (1973) and Britannia Hospital (1982). Although Anderson also directed two theatrical adaptations for the screen - David Storey's In Celebration (1974) and David Berry's The Whales of August (1987) - it was particularly with the trilogy and the related works through which Anderson contributed to a self-reflexive mode of art cinema, incorporating Brechtian devices, theatrical stylization and self-conscious intertextuality. Drawing on extensive research and accessing previously unseen material from Lindsay Anderson's personal archive, Hedling explores Anderson's entire output to examine howhe contributed to a broadening of film narrative in Britain towards more radical forms, prefiguring thus the internationally acclaimed British art cinema of the 1980s.