British Cinema (inbunden)
Fler böcker inom
Format
Inbunden (Hardback)
Språk
Engelska
Antal sidor
1752
Utgivningsdatum
2013-12-11
Förlag
Routledge
Dimensioner
249 x 175 x 135 mm
Vikt
3246 g
Antal komponenter
4
Komponenter
Contains 4 hardbacks
ISBN
9780415525671
British Cinema (inbunden)

British Cinema

Inbunden Engelska, 2013-12-11
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Serious scholarly writing and research on British cinema has burgeoned to a dizzying degree in recent decades, and this new four-volume collection from Routledge meets the need for an authoritative reference work to enable users to navigate and make sense of the subject's large body of scholarship, and the continuing explosion in research output. Edited by Robert Murphy, the leading expert in the field, this new title is a 'mini library' of the foundational and the very best cutting-edge scholarship on British cinema. British Cinema provides an indispensable one-stop resource on the major periods, genres, studios, filmmakers, and debates in British cinema from the nineteenth century to the present day. The collection addresses a wide range of issues and topics including: British cinema as a 'national' cinema; its often difficult relationship with Hollywood; censorship; gender representation; distinctively British genres (not least, horror, comedy, and costume film); and the output of studios and directors (including immortals such as Alfred Hitchcock, David Lean, Alexander Mackendrick, and Michael Powell). British Cinema includes a full index and a comprehensive introduction, newly written by the editor, which places the collected material in its historical and intellectual context. It is an essential work of reference and is destined to be valued by scholars and advanced students of film studies as a vital research tool.
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Övrig information

Robert Murphy is Emeritus Professor in Film Studies at De Montfort University. He has contributed essays to a variety of collections, written several entries for the Oxford Dictionary of National Biography, and published articles in Screen, The Journal of British Cinema and Television, Sight and Sound, Senses of Cinema, Film International and The Historical Journal of Film, Radio and Television. His books include Realism and Tinsel (Routledge, 1989), Sixties British Cinema (BFI, 1992), Smash and Grab: Gangsters in the London Underworld 1920-60 (Faber and Faber, 1993), British Cinema and the Second World War (Continuum, 2000), and as editor British Crime Cinema (with Steve Chibnall, Routledge, 1999), British Cinema of the 90s (BFI, 2000), Directors in British and Irish Cinema (BFI, 2006), The British Cinema Book (3rd edition, BFI, 2009). He is currently writing about British Film Noir.

Innehållsförteckning

Volume I: BRITISH CINEMA PAST AND PRESENT Part 1: Silent Cinema 1. Luke McKernan, 'How to Make Ben Hur Look Like an Epic', in Alan Burton and Laraine Porter (eds.), Pimple, Pranks and Pratfalls: British Comedy Before 1930 (Trowbridge: Flicks Books, 2000), pp. 7-9. 2. Amy Sargeant, 'Mud, Rats, Lice, Ice' and 'Home Thoughts from Abroad', British Cinema (London: BFI Publishing, 2005), pp. 58-67. 3. Matthew Sweet, 'Strange England', Shepperton Babylon: The Lost World of British Cinema (London: Faber and Faber, 2005), pp. 3-9. 4. Christine Gledhill, 'Late Silent Britain', in Robert Murphy (ed.), The British Cinema Book, 3rd edn. (London: BFI Publishing, 2009), pp. 163-76. Part 2: The Rise and Fall of Popular British Cinema 5. Robert Murphy, 'Fantasy Worlds: British Cinema Between the Wars', Screen, 1985, 26, 1, 10-20. 6. Mike Wayne, 'Constellating Walter Benjamin and British Cinema: A Study of The Private Life of Henry VIII', Quarterly Review of Film and Video, 2002, 19, 249-60. 7. Lawrence Napper, 'British Cinema and the Middle Brow', in Justine Ashby and Andrew Higson (eds.), British Cinema: Past and Present (London and New York, Routledge, 2000), pp. 110-23. 8. Dilys Powell, Films Since 1939 (London: Longmans Green, 1947), pp. 7-40. 9. James Chapman, 'Women and War', The British at War: Cinema, State and Propaganda, 1939-45 (London: I. B. Tauris, 2000), pp. 201-15. 10. Elena Von Kassel Siambani, 'Re-imagining History: The Silent Village and Went the Day Well?', in Melvyn Stokes and Gilles Menegaldo (eds.), Cinema et histoire/History and Cinema (Paris: Michel Houdiard, 2008), pp. 363-73. 11. Robert Murphy, 'Great Expectations', Realism and Tinsel: Cinema and Society in Britain 1939-49 (London and New York: Routledge, 1992), pp. 64-83. 12. Christine Geraghty: 'European Relations: Sex, Politics and the European Woman', British Cinema in the Fifties (London and New York: Routledge, 2000), pp. 93-111. 13. Sue Harper and Vincent Porter, 'Moved to Tears: Weeping in the Cinema in Postwar Britain', Screen, 1996, 37, 2, 152-73. 14. Melanie Williams, 'A Girl Alone in a Man's World: Ice Cold in Alex (1958) and the Place of Women in the 1950s British War Film Cycle', Feminist Media Studies, 2009, 9, 1, 95-108. 15. Robert Murphy, 'A Savage Story of Lust and Ambition', Sixties British Cinema (London: BFI Publishing, 1992), pp. 10-33. 16. Moya Luckett, 'Travel and Mobility: Femininity and National Identity in Swinging London Films', in Andrew Higson and Justine Ashby (eds.), British Cinema, Past and Present (London and New York: Routledge, 2000), pp. 233-45. 17. Ian Hunter, 'Take an Easy Ride: Sexploitation in the 1970s', in Robert Shail (ed.), Seventies British Cinema (London: BFI/Palgrave Macmillan, 2008), pp. 3-13. 18. Leon Hunt. 'Lads and Loungers: Some 1970s Masculinities', British Low Culture: From Safari Suits to Sexploitation (London: Routledge), pp. 56-73. 19. John Hill, 'Film and Television, A New Relationship', British Films of the 1980s (Oxford: Clarendon Press, 1997), pp. 53-70. 20. John Kirk, 'Urban Narratives: Contesting Place and Space in Some British Cinema from the 1980s', Journal of Narrative Theory, 2001, 31, 3, 353-79. Part 3: Contemporary British Cinema 21. Paul Dave, 'The Underclass: Fantasy and Realism', Visions of England: Class and Culture in Contemporary Cinema (London: Berg, 2006), pp. 83-99. 22. Mike O'Pray, 'British Avant-Garde and Art Cinema from the 1970s to the 1990s, in Andrew Higson (ed.), Dissolving Views: Key Writings on British Cinema (London: Cassell, 1996) pp. 178-90. 23. Nick Roddick, 'Four Weddings and a Final Reckoning', Sight and Sound, Jan. 1995, pp. 13-15. 24. Stuart Hanson, 'Spoilt for Choice', in Robert Murphy (ed.), British Cinema of the 90s (London: BFI Publishing, 2000), pp. 48-59. 25. Nick James, 'In Bed with the Film Council', Sight and Sound, Jan. 2001, pp. 14-17. 26. Barbara Korte and Claudia Sternberg, 'Black and Asian Britain and t