John Orr – författare

This study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique becuae of the existential playfulness and confusion of its protagonists, and because of its muted vision of apocalypse in the nuclear age.

This study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique becuae of the existential playfulness and confusion of its protagonists, and because of its muted vision of apocalypse in the nuclear age.

This book discusses the complex relation between modernity and cinema drawing particularly upon the European and American cinema during the second half of the twentieth century. Orr attempts to rethink the relation of film-making to the contemporary world challenging many of the critical complacencies of post-modernism and offering a fresh perspective upon the development of the modern cinema.

Contemporary Cinema is a major study of key developments in the cinema over the last thirty years. It reworks Pasolini's landmark concept of 'the cinema of poetry' to look at the transformation of film form in its encounter with society, the sacred, the subjective and the presence of the camera. Poetic cinemas are seen as creating a distincitive match in their own cultures between critical social engagement and the delirium of form. In the 1970s, the influential forms of a cinema of poetry are analysed in key features by Altman, Herzog, Malick, Scorsese, Weir, Von Trotta and Tarkovsky while in the 1980s and 1990s the emergence of new filmmakers has meant a diffusion of different cinemas of poetry using new techniques and new technologies. Of key importance here is the work of Kieslowski, Lynch, Egoyan, Campion, Greenaway, Zhang Yimou, Tran Anh Hung and Wong Kar-Wai, as well as the reinvention of science fiction and film noir in American genre. These multiple cinemas of poetry with their social commitment and stylistic delirium have created a new freshness, vitality and visual impact to outrival the mainstream genre products of the Hollywood studies which currently dominate the world.* The most comprehensive study of major developments in the cinema during the last thirty years. * New insights into the transformation of 1970s cinema* Shows the continuing diffusion of cinemas of poetry and the most talented filmmakers of the 1980s and 1990s.* Looks at the vitality of the different cinemas of poetry as aesthetic resistance to the forms of filmmaking dictated by the power and money of the Hollywood studios.* Illustrated with 10 black-and-white film stills.

In a fresh and invigorating look at British cinema that considers film as an art form among other arts, John Orr takes a critical look at the intriguing relationship between romanticism and modernism that has been much neglected in the study of UK cinema and downplayed in the development of Western cinema. Encompassing a broad selection of films, film-makers and debates, this book brings a fresh perspective to how scholars might understand and interrogate the major traditions that have shaped British cinema history.Covering the period between 1929 and the present, this book examines outstanding directors such as Alfred Hitchcock, David Lean, Carol Reed, Nicholas Roeg, Terence Davies and Bill Douglas, and articulates two genres vital to British cinema - the fugitive film and the trauma film - which bridge the gap between romantic and modern forms. Two detailed chapters also assess the powerful impact of major expatriate directors like Losey, Antonioni, Polanski, Kubrick and Skolimowski on modernism in the 1960s and 1970s. Detailed critical readings explore 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. The book concludes with an analysis of the persistence of romantic and modernist forms in the 21st century in two recent prize-winning features, Control and Hunger.

Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. It begins with essays analyzing new post-war forms of film narrative and responses to the filmic innovations of the 1960s and the question of modernism. Pasolini's landmark polemic on the cinema of poetry is a vital springboard for the later critiques of time and the image, subjectivities and their narrative transformation, and the topical question of film and postmodernity. A discussion of changes in film technology and cinematic perception extend to the questions of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration. The second section, International Cinema, places filmmaking and filmmakers in a social and a national context. It brings together landmark essays which contextualize feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Welles, Bresson, Hitchcock, Godard, Egoyan, Fassbinder and Zhang Yimou.Contributors include: Nestor Almendros, Jacques Aumont, Andre Bazin, Noel Burch, Scott Bukatman, Michael Chapman, Rey Chow, Terry Comito, Timothy Corrigan, Angela Della Vacche, Gilles Deleuze, Peter Harcourt, Frederic Jameson, Bruce Kawin, Krzystof Kieslowski, Vassiliki Kolocotroni, Teresa de Lauretis, Colin MacCabe, Christian Metz, Tania Modleski, Laura Mulvey, Bill Nicholls, John Orr, David Pascoe, Pier Paolo Pasolini, Duncan Petrie, Donald Richie, Larry Salvato, Dennis Schaefer, Paul Schrader, Susan Sontag, Andrei Tarkovsky, J.P. Telotte, Paul Virilio, Peter Wollen, Ismail Xavier, Denise Youngblood.

Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. It begins with essays analyzing new post-war forms of film narrative and responses to the filmic innovations of the 1960s and the question of modernism. Pasolini's landmark polemic on the cinema of poetry is a vital springboard for the later critiques of time and the image, subjectivities and their narrative transformation, and the topical question of film and postmodernity. A discussion of changes in film technology and cinematic perception extend to the questions of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration. The second section, International Cinema, places filmmaking and filmmakers in a social and a national context. It brings together landmark essays which contextualize feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Welles, Bresson, Hitchcock, Godard, Egoyan, Fassbinder and Zhang Yimou.Contributors include: Nestor Almendros, Jacques Aumont, Andre Bazin, Noel Burch, Scott Bukatman, Michael Chapman, Rey Chow, Terry Comito, Timothy Corrigan, Angela Della Vacche, Gilles Deleuze, Peter Harcourt, Frederic Jameson, Bruce Kawin, Krzystof Kieslowski, Vassiliki Kolocotroni, Teresa de Lauretis, Colin MacCabe, Christian Metz, Tania Modleski, Laura Mulvey, Bill Nicholls, John Orr, David Pascoe, Pier Paolo Pasolini, Duncan Petrie, Donald Richie, Larry Salvato, Dennis Schaefer, Paul Schrader, Susan Sontag, Andrei Tarkovsky, J.P. Telotte, Paul Virilio, Peter Wollen, Ismail Xavier, Denise Youngblood.

Ingmar Bergman’s films had a very broad and rich relationship with the rest of European cinema, contrary to the myth that Bergman was a peripheral figure, culturally and aesthetically isolated from the rest of Europe. This book contends that he should be put at the very center of European film history by chronologically comparing Bergman’s relationship to key European directors such as Carl Theodor Dreyer, Jean-Luc Godard, Michelangelo Antonioni, and Andrei Tarkovsky, and also looks at Bergman’s critical relationship to key movements in film history such as the French New Wave. In so doing, it demonstrates how Ingmar Bergman’s films illustrate the demonic struggle in modernity between faith and secularity through “his intense preoccupation with the malaise of intimacy.”

A critical study which discusses passion and community as the central structures of feeling in tragic realism, tracing their origins in Stendhal, Tolstoy and Dostoevsky and explaining their contemporary eclipse in Western society.

A study that examines the relationship between tragic drama of the late 19th and 20th centuries and present-day society. The author''s theories are presented with excerpts from relevant plays, such as "Look Back in Anger", "The Glass Menagerie", "The Iceman Cometh" and "Hedda Gabler".

This study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique becuae of the existential playfulness and confusion of its protagonists, and because of its muted vision of apocalypse in the nuclear age.

Ingmar Bergman’s films had a very broad and rich relationship with the rest of European cinema, contrary to the myth that Bergman was a peripheral figure, culturally and aesthetically isolated from the rest of Europe. This book contends that he should be put at the very center of European film history by chronologically comparing Bergman’s relationship to key European directors such as Carl Theodor Dreyer, Jean-Luc Godard, Michelangelo Antonioni, and Andrei Tarkovsky, and also looks at Bergman’s critical relationship to key movements in film history such as the French New Wave. In so doing, it demonstrates how Ingmar Bergman’s films illustrate the demonic struggle in modernity between faith and secularity through “his intense preoccupation with the malaise of intimacy.”