Romantics and Modernists in British Cinema John Orr

April 2010 Hb 978 0 7486 4014 0 £60.00

240pp 234 x 156 mm

A fresh and invigorating discussion of British cinema that considers film as an art form among other arts

Description The Author John Orr takes a critical look at the intriguing relationship between romanticism and John Orr is Professor Emeritus in the modernism that has been neglected in the study of UK cinema and downplayed School of Social and Political Studies, in the development of Western cinema. The book covers a broad selection of films, University of Edinburgh film-makers and debates but also brings a fresh perspective to how scholars might understand and the major traditions that have shaped British cinema history. Series Covering the period between 1929 and the present this book examines directors Edinburgh Studies in Film such as Alfred Hitchcock, David Lean, Carol Reed, Nicholas Roeg, Terence Davies and Bill Douglas and discusses two genres vital to British cinema - the fugitive film and the trauma film - which bridge the gap between romantic and modern forms. Readership The author also assesses the powerful impact of major expatriate directors like Upper level graduates, MA students Joseph Losey, Michelangelo Antonioni, Roman Polanski, Stanley Kubrick and Jerzy and lecturers in Film Studies Skolimowski on modernism in the 1960s and 1970s. After critical readings of key films, the conclusion analyses the persistence of romantic and modernist forms in the 21st century in two recent prize-winning features, Control and Hunger.

Key Features • Directors discussed include Alfred Hitchcock, David Lean, Carol Reed, Nicholas Roeg, Terence Davies and Bill Douglas • Film discussed include Blackmail, The Lady Vanishes, Black Narcissus, Odd Man Out, The Passionate Friends, The Innocents, Lawrence of Arabia, The Servant, Blow-Up, A Clockwork Orange, Don't Look Now, The Wicker Man, Moonlighting, the Bill Douglas trilogy and The Long Day Closes

Film, Media & Cultural Studies

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