Some films are remembered long after they are released; others are soon forgotten, but do they deserve oblivion? Are factors other than quality involved? This book exhumes some of the films released in Britain over the last seventy years from Daybreak (1948) to 16 Years of Alcohol (2003), and considers the reasons for their neglect. As well as exploring the contributions of those involved in making the films, the book examines such issues as marketing and the response of critics and audiences. Films are grouped loosely into categories such as “B” films and television films. Some works were little seen when they were first released and have stayed that way; others were popular in their day, but have slipped into obscurity. In some cases, social change has overtaken them, making the attitudes or subjects they depict seem dated. Even being released as a DVD does not guarantee that a title will be rehabilitated. In addition, how significant is the American market? This book should appeal to lovers of British film, as well as to film studies students and everybody curious about the vagaries of success and failure in the arts.
The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term “art film” and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines key works of Indian art cinema to demonstrate how film emerged as a mode of doing history and that, in so doing, it anticipated some of the most influential insights of postcolonial thought. Majumdar details how filmmakers as well as a host of film societies and publications sought to foster a new cinematic culture for the new nation, fueled by enthusiasm for a future of progress and development. Good films would help make good citizens: art cinema would not only earn global prestige but also shape discerning individuals capable of exercising aesthetic and political judgment. During the 1960s, however, Satyajit Ray, Mrinal Sen, and Ritwik Ghatak—the leading figures of Indian art cinema—became disillusioned with the belief that film was integral to national development. Instead, Majumdar contends, their works captured the unresolvable contradictions of the postcolonial present, which pointed toward possible, yet unrealized futures. Analyzing the films of Ray, Sen, and Ghatak, and working through previously unexplored archives of film society publications, Majumdar offers a radical reinterpretation of Indian film history. Art Cinema and India’s Forgotten Futures offers sweeping new insights into film’s relationship with the postcolonial condition and its role in decolonial imaginations of the future.
By considering D.H. Lawrence’s stories through the lens of critically neglected short films, this book provides a fresh, forward-looking approach to Lawrence studies which engages with current adaptation theory to reflect on the evolving critical reception of the author’s tales.
Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most dynamic and distinctive "e; yet scarcely talked about "e; areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil's Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.
A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and methods used to interpret and understand British and Irish films, and the defining issues and debates at the heart of British and Irish cinema studies. Offering a broad scope of commentary, the Companion explores historical, cultural and aesthetic questions that encompass over a century of British and Irish film studies—from the early years of the silent era to the present-day. Divided into five sections, the Companion discusses the social and cultural forces shaping British and Irish cinema during different periods, the contexts in which films are produced, distributed and exhibited, the genres and styles that have been adopted by British and Irish films, issues of representation and identity, and debates on concepts of national cinema at a time when ideas of what constitutes both ‘British’ and ‘Irish’ cinema are under question. A Companion to British and Irish Cinema is a valuable and timely resource for undergraduate and postgraduate students of film, media, and cultural studies, and for those seeking contemporary commentary on the cinemas of Britain and Ireland.
Adrian Greaves uses his exceptional knowledge of the Anglo-Zulu War to look beyond the two best known battles of Isandlwana and the iconic action at Rorkes Drift to other fiercely fought battles.He covers little recorded engagements and battles such as Nyezane which was fought on the same day as the slaughter of Imperial troops at Isandlwana but has been eclipsed by it. Like the battles at Hlobane and Gingindhlovu.The death of the Prince Imperial, which caused shock waves round Europe and had huge repercussions for those involved, is examined in detail. The defeat of the Zulu Army at Ulundi was the culmination of the war and the author reveals new and shocking details about this battle.There is a hint of ominous events to come in the slaughter of Colonel Austruthers Redcoat column by Boers as they marched from Ulundi to Pretoria. This was the opening salvo of the First Boer War.This hugely informative book will fascinate fans of this period of our Imperial history.
'JOYOUS . . . READERS WILL LOVE THIS FASCINATING BOOK' CATHY RENTZENBRINK 'A GODSEND WITH THE PRESENT SEASON APPROACHING' IRISH INDEPENDENT 'THE PERFECT GIFT FOR A BOOK-OBSESSED FRIEND' STYLIST, 50 UNMISSABLE BOOKS FOR AUTUMN 2017 'EXCELLENT . . . SHOULD BE READ BY ANYONE WHO LOVES BOOKS' EVENING STANDARD Absence doesn't make the heart grow fonder. It makes people think you're dead. So begins Christopher Fowler's foray into the back catalogues and backstories of 99 authors who, once hugely popular, have all but disappeared from our shelves. Whether male or female, domestic or international, flash-in-the-pan or prolific, mega-seller or prize-winner - no author, it seems, can ever be fully immune from the fate of being forgotten. And Fowler, as well as remembering their careers, lifts the lid on their lives, and why they often stopped writing or disappeared from the public eye. These 99 journeys are punctuated by 12 short essays about faded once-favourites: including the now-vanished novels Walt Disney brought to the screen, the contemporary rivals of Sherlock Holmes and Agatha Christie who did not stand the test of time, and the women who introduced us to psychological suspense many decades before it conquered the world. This is a book about books and their authors. It is for book lovers, and is written by one who could not be a more enthusiastic, enlightening and entertaining guide. 'A BIBLIOPHILE'S DREAM' FINANCIAL TIMES 'WILL HAVE READERS SCURRYING INTO SECONDHAND BOOKSHOPS' GUARDIAN
200 striking photographs, in-depth commentaries, plot synposes, contemporary reviews, and more — about 50 British classics from yesterday and today. Preface. Text. Alphabetical list of films. Bibliography.
Over 39 chapters The Routledge Companion to British Cinema History offers a comprehensive and revisionist overview of British cinema as, on the one hand, a commercial entertainment industry and, on the other, a series of institutions centred on economics, funding and relations to government. Whereas most histories of British cinema focus on directors, stars, genres and themes, this Companion explores the forces enabling and constraining the films’ production, distribution, exhibition, and reception contexts from the late nineteenth century to the present day. The contributors provide a wealth of empirical and archive-based scholarship that draws on insider perspectives of key film institutions and illuminates aspects of British film culture that have been neglected or marginalized, such as the watch committee system, the Eady Levy, the rise of the multiplex and film festivals. It also places emphasis on areas where scholarship has either been especially productive and influential, such as in early and silent cinema, or promoted new approaches, such as audience and memory studies.
Films are not just for audiences: historians of the twentieth century have much to learn from them. A film exposes the attitudes and unconsidered trifles that people took for granted and which were not considered worth recording elsewhere. This volume surveys British cinema from the final days of the Second World War to the early 1970s, exploring societal change across a range of topics including housing, the countryside, psychiatry and the law. This provides a basis for cross-cultural comparisons, with many issues deserving of further research being highlighted. The films discussed range from the well-known Odd Man Out to the forgotten It’s Hard to be Good.
Known as the celebrated director of critical and commercial successes such as Psycho (1960) and The Birds (1963), Alfred Hitchcock is famous for his distinctive visual style and signature motifs. While recent books and articles discussing his life and work focus on the production and philosophy of his iconic Hollywood-era films like Notorious (1946) and Vertigo (1958), Hitchcock Lost and Found moves beyond these seminal works to explore forgotten, incomplete, lost, and recovered productions from all stages of his career, including his early years in Britain. Authors Alain Kerzoncuf and Charles Barr highlight Hitchcock's neglected works, including various films and television productions that supplement the critical attention already conferred on his feature films. They also explore the director's career during World War II, when he continued making high-profile features while also committing himself to a number of short war-effort projects on both sides of the Atlantic. Focusing on a range of forgotten but fascinating projects spanning five decades, Hitchcock Lost and Found offers a new, fuller perspective on the filmmaker's career and achievements.