Fires Were Started: British Cinema and ThatcherismLester D. Friedman Wallflower, 2006 - Počet stran: 341 Fires Were Started is a provocative analysis of the responses of British film to the policies and political ideology of the Conservative governments of Margaret Thatcher and it represents an original and stimulating contribution to our knowledge of British cinema. This second edition includes revised and updated contributions from some of the leading scholars of British cinema, including Thomas Elsaesser, Peter Wollen and Manthia Diawara. The book discuss prominent filmmakers such as Peter Greenaway, Derek Jarman, Ken Russell, Nicolas Roeg and Stephen Frears, it also explores some lesser known but equally important territory such as the work of Black British filmmakers, the Leeds Animation Workshop and Channel 4's Film on Four. Films discussed include Distant Voices, Still Lives, My Beautiful Launderette, Chariots of Fire and Drowning by Numbers. |
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Strana 60
... audience members to witness these easily identifiable aspects of popular memory ; yet , such films also interrogate those comfortable assumptions , inducing the audience to reconceive its perspectives upon past and present in new and ...
... audience members to witness these easily identifiable aspects of popular memory ; yet , such films also interrogate those comfortable assumptions , inducing the audience to reconceive its perspectives upon past and present in new and ...
Strana 129
... audience ' and ' producer ' . In this ethereal world filmmaker equals active agent and audience usually equals passive consumers of a predetermined product . We have decided to reject such a view in our practice . ( 1983 : 29 ) The ...
... audience ' and ' producer ' . In this ethereal world filmmaker equals active agent and audience usually equals passive consumers of a predetermined product . We have decided to reject such a view in our practice . ( 1983 : 29 ) The ...
Strana 152
... audience . The romantic image obscures her class status . The men see her only as a frail and romantic dying heroine , not as a labourer . Her hidden working - class status is linked to the way the narrative encourages the male ...
... audience . The romantic image obscures her class status . The men see her only as a frail and romantic dying heroine , not as a labourer . Her hidden working - class status is linked to the way the narrative encourages the male ...
Obsah
Thatcherite Politics and the British Film of the 1980s | 15 |
Modernism in the British Films of the Thatcher Era | 30 |
The New British Cinema | 45 |
Autorská práva | |
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Fires Were Started: British Cinema and Thatcherism Lester D. Friedman Náhled není k dispozici. - 1993 |
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aesthetic Alan argues artists audience avant-garde Beautiful Laundrette Britain British cinema British Film Institute British television camera Catholic Channel 4's characters Chariots of Fire Conservative costume dramas critical critique culture David decade Derek Jarman directors discourse documentary dominant Draughtsman's Contract economic English essay fantasy feminist fiction film industry film's filmmakers genre Greenaway's heritage films Higson Hollywood identity ideology images Irish John Ken Loach Ken Russell Labour Last of England Leigh literary lives Loach London mainstream Margaret Thatcher Maurice memory Michael Mike Leigh mother narrative national cinema Northern Ireland Onwurah Party past period Peter Greenaway play Ploughman's Lunch policies political Press production Protestant realism representation represents Roeg Roeg's Russell's scene Screen sense sexual shot social society specific Stephen Frears suggests television films Thatcherite theatre tion tradition viewers visual voiceover women working-class Yosser young