Lynda Nead – författare

This collection brings together some of the important minds in both contemporary art history and theory, and law and legal history. The result is a discussion of the diverse relationships between law and the artistic image. The essays draw on the critical procedures of law, art history and cultural studies in order to create an interdisciplinary field of visual culture and law. In exploring the hidden interdependence of law and art, the writings refute the generally held conception that law is fixed and rational while the judgement of art is autonomous and ambiguous. Among the topics addressed are the history of the relationship between art and law, the ways in which the visual is made subject to the force of the law, and the complex relations between law, the image and identity.

This collection brings together some of the important minds in both contemporary art history and theory, and law and legal history. The result is a discussion of the diverse relationships between law and the artistic image. The essays draw on the critical procedures of law, art history and cultural studies in order to create an interdisciplinary field of visual culture and law. In exploring the hidden interdependence of law and art, the writings refute the generally held conception that law is fixed and rational while the judgement of art is autonomous and ambiguous. Among the topics addressed are the history of the relationship between art and law, the ways in which the visual is made subject to the force of the law, and the complex relations between law, the image and identity.

Taking an interdisciplinary approach that looks at film, television, and commercial advertisements as well as more traditional media such as painting, The Tiger in the Smoke provides an unprecedented analysis of the art and culture of post-war Britain. Art historian Lynda Nead presents fascinating insights into how the Great Fogs of the 1950s influenced the newfound fashion for atmospheric cinematic effects. She also discusses how the widespread use of color in advertisements was part of an increased ideological awareness of racial differences.  Tracing the parallel ways that different media developed new methods of creating images that variously harkened back to Victorian ideals, agitated for modern innovations, or redefined domesticity, this book’s broad purview gives a complete picture of how the visual culture of post-war Britain expressed the concerns of a society that was struggling to forge a new identity.         Published in association with the Paul Mellon Centre for Studies in British Art

This collection of essays concentrates on the work of Walter Benjamin. Topics covered include: the question of historical understanding versus historicism; Benjamin and the sources of Judaism; feminism and cultural analysis; and images in Benjamin's novels and other writings.

The history of Western art is saturated with images of the female body. Lynda Nead's The Female Nude was the first book to critically examine this phenomenon from a feminist perspective and ask: how and why did the female nude acquire this status?In a deft and engaging manner, Lynda Nead explores the ways in which acceptable and unacceptable images of the female body are produced, issues which have been reignited by current controversies around the patriarchy, objectification and pornography. Nead brilliantly illustrates the two opposing poles occupied by the female nude in the history of art; at one extreme the visual culmination of enlightenment aesthetics; at the other, spilling over into the degraded and the obscene. What both have in common, however, is the aim of containing the female body.Drawing on examples of art and artists from the classical period to the 1980s, The Female Nude paints a devastating picture of the depiction of the female body and remains as fresh and invigorating today as it was at the time of its first publication.This Routledge Classics edition includes a new Preface by the author.

The history of Western art is saturated with images of the female body. Lynda Nead's The Female Nude was the first book to critically examine this phenomenon from a feminist perspective and ask: how and why did the female nude acquire this status?In a deft and engaging manner, Lynda Nead explores the ways in which acceptable and unacceptable images of the female body are produced, issues which have been reignited by current controversies around the patriarchy, objectification and pornography. Nead brilliantly illustrates the two opposing poles occupied by the female nude in the history of art; at one extreme the visual culmination of enlightenment aesthetics; at the other, spilling over into the degraded and the obscene. What both have in common, however, is the aim of containing the female body.Drawing on examples of art and artists from the classical period to the 1980s, The Female Nude paints a devastating picture of the depiction of the female body and remains as fresh and invigorating today as it was at the time of its first publication.This Routledge Classics edition includes a new Preface by the author.

Robert Hamer’s ‘Dark Ealing’ It Always Rains on Sunday (1947) is a claustrophobic domestic melodrama, combining elements of film noir and gritty realism, in the story of a frustrated housewife, Rose Sandigate (Googie Withers), who rekindles a former love affair with an escaped convict, Tommy Swann (John McCallum). Praised by critics upon its release, the film came during a time when Britain had barely begun to recover from World War II and depicted an East End of bombsites, rationing and uneasy gender relations.Lynda Nead’s insightful study argues that Hamer’s film captures the mood and experience of post-war Britain in a uniquely visceral style. Examining its intensely dramatic evocation of London’s East End, with its crowded terraced homes, constant rain and bleak cold, she unpacks the factors that contribute to the film’s atmosphere and the moment of its making: its detailed composition of exteriors and interiors; its representation of women and female desire; and its depiction of men, the husbands, spivs and criminals of this tale of East End streets.

A vivid account of the atmosphere and culture of postwar Britain, explored through the image of the British Blonde  In the 1950s, American glamour swept into a war-torn Britain as part of a broader transatlantic exchange of culture and commodities. But in this process, the American ideal of the blonde became uniquely British—Marilyn Monroe transformed into Diana Dors.  British Blonde examines postwar Britain through the changing ideals of femininity that reflected the nation’s evolving concerns in the twenty-five years following the Second World War. At its heart are four iconic women whose stories serve as prompts for broader accounts of social and culture change: Diana Dors, the quintessential blonde bombshell; Ruth Ellis, the last woman to be hanged in Britain; Barbara Windsor, star of the Carry On films; and the Pop artist Pauline Boty. Together, they reveal how class, social aspiration, and desire reshaped the cultural atmosphere of the 1950s and 1960s, complicating gender roles and visual culture in the process.  Richly illustrated with paintings, photography, film stills, and advertisements, this interdisciplinary and engagingly written study offers a highly original perspective on an era that transformed Britain’s visual and cultural identity.​Distributed for the Paul Mellon Centre for Studies in British Art